Laneway Festival 2019 Review + Photos

Laneway Festival 2019 Review + Photos

Photography by Ngamihi Pawa and David Watson / Tuesday 29th January, 2019 4:10PM

St Jerome's Laneway Festival returned to Auckland's Albert Park for their third year at the leafy location, boasting a stacked lineup of international and local artists ready to move the sweltering crowd in the middle of a summer heat wave. Our crack review team (some of whom are feeling the pain today) headed along to the sold out festival to take in the action alongside heroic photographer Ngamihi Pawa – you can view a full gallery of her snaps of a hefty chunk of the acts, alongside images by official Laneway photographer David Watson over HERE, and by clicking on the thumbnail images at the bottom of this page. Dive into the team's hottest of hot takes (plus a few salty ones) on the scorcher of a day here...

Miss June
Princes St. Stage, 12:15pm

Fifteen minutes prior to Miss June's set, I watch a guy wearing a t-shirt that reads "Fuck Capitalism," which is hilarious as we are all at a music festival that is sponsored by Visa. Annabelle Liddell and their band play through their set impeccably. They are a band that practice and you can tell they have a clear idea of exactly how they want to sound. My only gripe would be their guitarist whose over performing comes across as contrived and is distracting from Annabelle's own performance, which in fact is cool and calculated. Maybe it's just excitement, but his interaction with the crowd and overuse of the word "fuck" in the space of six seconds came across as cringey. My personal highlight was the song 'Scorpio'. It's catchy and jangly and also appeared to be a crowd favourite too. Annabelle scans the crowd and gives a shout out to her mum which was nice. I look around me at the people and my surroundings. Has anyone seen the episode of The Simpsons where they go to Hullabalooza? ROY IRWIN


Imugi 이무기
Dr. Martens Stage, 12:25pm

When Imugi 이무기 took to the Korean flag-clad stage, early Laneway punters sprinted to the front ready to dance, singer Yery and propelling this enthusiasm straight back to them. With laid-back, cruising production from Carl, Imugi 이무기's s기et was equally as visual as it was captivatingly musical; two dancers joining them for their latest single 'Green Smoke'. Each track was played flawlessly, singer Yery's voice strong and smooth, Carl's tight beats accompanied by the great choreography from the dancers. The duo was in their element and totally owning the stage. It's also the only time I've ever seen a producer come from behind their decks and switch with the singer, and then proceed do a Mexican wave with dancers. Church & AP joined Imugi 이무기 as special guests to great enthusiasm of everyone, and Yery dedicated their show "to all my queer, POC women of colour. Be yourself because that’s what's revolutionary, fuck everyone else." Imugi 이무기 are superstars and I can't wait to see them again! FLO WILSON


G Flip
Rotunda Stage, 12:55pm

G Flip aka Georgia Flipo played her polished pop tunes to an enthusiastic early morning crowd on the already-sweltering Rotunda stage. Her endearing Aussie accent assuring the crowd that they were “fucking legends” and her mind melting command of every single instrument that she touched were a perfect way to start a huge day. Starting off behind a drum kit, the Melbourne musician proceeded to rock vocals, guitar, bass and keyboard, with the set’s energy peaking as she traded off fills with her drummer on a front-of-stage pair of floor toms. Not bad for an artist who’s only dropped one four track EP approximately 1.5 weeks ago. FLUFFY


Camp Cope
Princes St. Stage, 1:15pm

Having seen Camp Cope back in April of last year at a headline show at Whammy Bar plus being a fan of their discography I was looking forward to their return to New Zealand - this time on the big stage. At 1:15pm the crowd was small but once they took off Camp Cope watched the numbers roll in, especially when catchy songs like ‘How To Socialise and Make Friends’ made their way into the set. Fans of Camp Cope danced along and sang word for word while newcomers seemed pleasantly surprised as the band transitioned between songs from their debut and their 2018 album. Singer Georgia McDonald was met with praise for her short stories of female empowerment and equality in the music industry, with the cherry on top being Courtney Barnett's appearance for the closing track of their set ‘The Opener’. HUNTER KEANE


Daffodils
Thunderdome Stage, 1:20pm

After easily the most painless entry to a festival ever, I headed straight for the inappropriately named Thunderdome. Set under the shade of large plane trees on Alfred Street the Thunderdome stage is the most comfortable place to be on a sweltering Laneway day. Daffodils’ drummer launched into the uptempo kick kick snare of ’A Leo Underwater’ and the band’s big sing-along pop filled the outdoor environment and demonstrated their talent for song writing. They had the crowd clapping along to the refrain, “I don’t want to touch your heart again” from Staring at the Sun and dancing along to ‘Boys’. Daffodils closed with the fantastically catchy and uptempo ‘Two Angels’ leaving me impressed and amazed at how a band so young could already have their shit so sorted. I’m looking forward to checking them out again. DAVID GREEN


Yellow Days
Dr. Martens Stage, 1:35pm

The sun is beaming as Yellow Days takes the stage in a plain white tee, beige pants and bright pink ponytail. Kicking off with the slow groove of ‘The Way Things Change’, that signature raspy voice gently flows through the crowd over a creamy lo-fi guitar. ‘A Little While’ has the crowd singing "don’t you see?," sharing in the reminiscing of George Van Den Broek’s first love. With video clips taking up the full stage backdrop, the band grooves into the down-tempo ‘Your Hand in Mine’, before picking up the beat in ‘What’s It All For?’. With the occasional Childish Gaminbo-esque scream, George let’s loose, absolutely uninhibited by the sometimes-harrowing nature of his songs. “We like smoking weed! Where the stoners at” George beckons to a cheering crowd before launching into ‘Gap in the Clouds’. Everyone is fully emerged in George’s husky and hypnotic pace. Ditching the guitar to roam the stage, the show hits its peak as solos carry the crowd to the end, before George farewells the Auckland crowd with “thanks for having us. Peace out”. Thank YOU, Yellow Days. You are rad. JERRI-RAE LEEF


Ravyn Lenae
Rotunda Stage, 2:20pm

Laneway was armed to the teeth with young stars and Ravyn Lenae was shining bright. I have no idea what makes a singer technically proficient but I imagine it was this. Her added vocal frills and ad libs were like a flash back to ‘The Diva’ song in The Fifth Element, minus the flailing arms of course. For someone without a huge back catalogue she clearly had a set of favourites as the crowd erupted at each opening line, particularly for her Steve Lacy collaborations ‘4 Leaf Clover’ and ‘Computer Luv’ from her latest offering Crush, that you should now go and absorb if you haven’t already. My stand out was definitely her cover of Outkast’s ‘Prototype’. A common one to tackle but nobody’s ever gonna complain cos it’s beyond a classic and she absolutely killed it. Ravyn was my first act of the day and It was hardly a warm up. She jumped straight in and to be honest I just wasn’t ready. Big voice, big presence, big banter and big goddamn heels. ​LIAM DARGAVILLE


Middle Kids
Thunderdome Stage, 2:20pm

Australian indie trio Middle Kids breezed onto the mercifully shaded Thunderdome stage, diving straight into 'On My Knees', the second single from last year’s debut LP Lost Friends. Their album tour included some major festival slots and it shows - the set is supremely tight, and they seem confidently relaxed. Vocalist Hannah Joy’s energy is totally infectious - hands are in the air by the second song, and by the fourth, the anthemic 'Your Love', there are couples necking all around me. After 'Don’t Be Hiding' (“It’s about learning to love your bod and other people’s bods”), drummer Harry Day gives New Zealanders some nice heartfelt compliments, as the smoke from someone’s snuck-in joint floats gently by on the breeze. Classic festival stuff. Their breakout Elton-John-approved hit 'Edge of Town' predictably sends the crowd into a frenzy. They’ve obviously got plenty of fans here, and for a band whose songs walk the difficult terrain of crumbling relationships and emotional turmoil, they sure know how to leave a crowd feeling good. FRANCES CARTER


Clairo
Princes St. Stage, 2:30pm

Its hot. Its so fucking hot. Let me just preface this review with the fact it's HOT. Claire (Cottrill) walks out in a god dam jumper and if that isn't a power move I don't know what is. She plays all her bangers and her live band matches her perfectly. I drank roughly two litres of water during the set and let me tell you - I felt like a motherfuckin' nun. Her voice was amazing live... there was not enough vocal harmonies for my liking and that is my only critique. Honestly so fucking GOOD!!!!! Go off Claire. JOE LOCKE


Skegss
Dr. Martens Stage, 3:05pm

Ratbags Skegss hit the Dr. Martens stage with a heavily Australian accented, “Gidday everyone,” before launching into their set of scuzzy surf punk. Their offensively 90s back drop of flames and bad font didn’t dampen the spirits of their large crowd, which included a group of (men dressed as) bananas. Highlights included the song ‘LSD’ With its singalong “oohs” and “ahhs” and the good vibe track ‘Spring has Sprung’. It was also great to spot a guy wearing a “Fuck Capitalism” t-shirt while Skegss sang about Coca-Cola and cigarettes in ‘New York California’. The mosh pit was heaving by the time they closed with ‘Up in the Clouds’. Conjuring memories of getting on it with friends from school, Skegss prove that there will always be a place for power chord punk especially when served up by a trio of real deal Australian surf bros. Good times. DAVID GREEN


BENE
Thunderdome Stage, 3:35pm

BENE has two songs out. Just two – and the Thunderdome was packed. I turned up early and still struggled to make my way through. I know, I know, it’s a narrow area. It still speaks volumes. BENE came to Laneway with a band which I’m always here for. I’m not saying people who perform solo can’t hold their own, but a band is always gonna add a more interesting texture for the punters. They were all oozing with an effortless energy that was simultaneously relaxed and (at the risk of sounding pretentious) authentic. I saw a lot of polished acts throughout the day and although I appreciate the professionalism and poise, it can sometimes come across as a little disingenuous. BENE’s set was far more natural than most. Even with her wonderfully awkward ‘lazy robot arm dance’ (just something I coined) that made many appearances throughout the set. It’s also nice seeing an act who genuinely seems excited to be there. Maybe I just have an unnecessary hang up for the classic “Hello New Zealand” that usually segways into a string of rehearsed lines. It’s a classic for a reason I suppose. Everyone’s phones shot up to take a video as her giant single ‘Soaked’ began. Many were clearly hanging around to hear it. In saying that I’m sure they left buzzing from hearing a set of unreleased gems and are eagerly awaiting an album, as am I. ​LIAM DARGAVILLE 


Gang Of Youths
Princes St. Stage, 3:45pm

I love music. It sparks emotions and can more often than not heighten your feelings and make situations, good or bad, become a lot clearer. Gang Of Youths however just piss me off. Not only do they have a shitty band name but they are also a shitty band. Have you ever walked into the store Cotton On thinking they might have some nice and cheap plain t-shirts for sale? If so you have probably come across some mass-produced Ramones branded thermal mug. That is the only feeling I can compare to what it is like watching Gang Of Youths perform. It smells like a rich man at a major record label discovered his cash cow and will continue to give five people a false sense of their own talent, which will lead to substance abuse and death by phyxy wank. ROY IRWIN


Smino
Rotunda Stage, 3:40pm

The crowd was gathered in droves in 4PM heat for rapper and singer Smino, well before the US artist got onstage. When Smino finally joined his five-piece band it was clear he knew how to move a crowd despite them being at their most cooked. People started running toward the stage, the pulsating, grooving rhythms from the band threw a massive energy out into the space and the dancing from Smino was infectious. He ran back and forward across the stage, and it was clear that these are some seasoned performers and they know is how to get everyone engaged. The band was amazing, with slick tight arrangements and giving a chance for these super-trained musicians to do their thing; the pianist doing some incredible solos. The only downside is that the vocals were hard to hear, but that didn't matter for the crowd of fans who were singing along. He played cult hit 'Netflix & Dusse' and even some older tracks such as 4ZL from his sophomore album, and generally won over the crowd. Noice. FLO WILSON


The Dead C
Dr. Martens Stage, 4:35pm

Back at the Dr. Martens stage, the Dead C announced their presence with a wail of guitar feedback. This trio of greying noise rock proponents have been at it since 1987, released a multitude of albums and have had a far-reaching influence, with the likes of Sonic Youth holding them in high esteem. Under the hot sun at Laneway I found myself closing my eyes and drifting off into their aural landscape, the two guitarists created swirling layers of dissonance while the thunderous drumming locked it all together. Not naturally a fan of noise, I was surprised at how much I enjoyed the Dead C and felt like their abstract sound was the perfect antidote to the overly direct melodies I have been hearing too much of lately. The Dead C may have been going for 30 years, but they were certainly one of the most exciting and progressive bands of the day. DAVID GREEN


Robinson
Thunderdome Stage, 4:45pm

Self-described "emotional person" Robinson loves her fans. After seducing us with the sultry 'Crave You', she threw out some hand hearts, told the audience to put their middle fingers up, and headed into crowd-pleasing pop slammers with bass got so heavy we could feel it in our throats. She invited the audience to join her at the party - “If you’re feeling a little bit tipsy and you wanna dance with me, that would be great” - but unfortunately some of them didn’t stick around when Robinson slowed down for a few stripped back piano ballads, and things thinned out a bit during a cover of Bruce Springsteen’s 'I’m On Fire'. Those who stayed were rewarded with the house party anthem, 'Nothing to Regret'. Judging by the amount of Cruiser cans left scattered on the asphalt after it was over, there might be one or two regrets tomorrow after all... but it was fun while it lasted. FRANCES CARTER


Mitski
Princes St. Stage, 5:00pm

Mitski took to the Princes Street stage in the peak early evening sun and heat to captivate the audience for one of my favourite performances of the day. Sans guitar, Mitski commanded the stage instead with a set of choreography that in some way reminded me of watching a school dance recital. But, unlike any dance performed in a school hall, Mitski was intimate, powerful and confrontational. Her movements – pacing the stage, thrusting her arms away, collapsing to the floor, were clearly calculated and executed so that the ever-lauded emotion and feeling in her music was communicated expertly through her dancing. Whilst the performance felt vulnerable and open, she also was in total control and had the sweltering in audience in almost complete awe. Her vocals never faulted throughout the high-energy performance, and her band were polished and tight, further complimenting and rounding off her high-energy choreography for a fantastic set. PEARL LITTLE


A Boogie Wit Da Hoodie
Rotunda Stage, 5:20pm

Brooklyn hip hop superstar A Boogie Wit A Hoodie aka Artist Julius Dubose was here at the same time his new record Hoodie SZN was reigning supreme at the top of Billboard's album charts, a rare feat the Laneway organisers must've be stoked with. Accusations of blandness and weird beefs with such beloved internet rap icons as Lil B (they've since settled) aside, there's an aura of excitement around the 'Drowning' hitmaker that draws you in. The rapper's DJ and hype man got the crowd pumped before he hit the stage - we cruised in as Soulja Boy was cranking. Clad in red pants, multi-coloured Pumas and gold chains ABWDH delivered a stadium level performance - moving the crowd with mega hit 'Look Back At It' and such audience-provoking proclamations as "if you like sex make some noise!". The bona fide pop star ('Drowning' has racked up over 320 million plays on Spotify) kept it snappy with back to back bangers and looked like he was having a tonne of fun too. As ABWDH's hype man declared, "dreams do come fucken true!" CHRIS CUDBY


Lontalius
Thunderdome Stage, 6:00pm

Lontalius aka Eddie Johnston took to the stage with his new band "which I stole from Tiny Ruins – sorry!" and played a selection of newer, unreleased material along with recent single 'That Includes You'. The latest iteration of Lontalius was tight; it's clear that Eddie Johnston has learnt a thing or two during his time based in Los Angeles and touring through Europe. His voice has become stronger, more powerful, and despite the sound engineer's penchant for bass so loud it literally rattled my nose, Lontalius kept the crowd captivated. Whatever LA did for him, it sure sounds good. A highlight was his latest single 'Optimistic', from his forthcoming sophomore album which was produced by Om'Mas Keith (Frank Ocean, Jay Z, Sun Ra). Lontalius has come a long way from lo-fi bedroom covers and I can't wait to see what comes next for him. FLO WILSON


Parquet Courts
Dr Martens Stage, 6:05pm

A huge highlight for many of the festival goers (including myself) was Parquet Courts, returning to NZ for the first time since 2015. With two more albums and an EP under their belts punters were eagerly waiting to hear those new songs on a festival level. I arrived early and was surrounded by many who were happy to wait over half an hour for their performance - and the band delivered. Kicking off the set with songs from their latest album Wide Awake it didn’t take long for the whole crowd to start moving. Dancing (moshing) reached a peak when older songs snuck into the show - ‘Master of My Craft’ and ‘Borrowed Time’ stood out as classics while deeper cuts like ‘Dear Ramona’ were a nice added touch for the long time fans. High points from their recorded music were even higher points on the stage with the use of whistles and cowbells cut in between catchy riffs, proving the bands intelligence and creativity. It seemed like nobody left disappointed - I definitely didn’t. HUNTER KEANE


Rex Orange County
Princes St. Stage 6:15pm

There’s a solid crowd at the Princes St stage as Rex Orange County aka Alex O’Connor sits as his piano singing “Hey I’m not afraid," instantly grabbing the crowds attention with the quirky ‘Television / So Far So Good’. Sliding through the intricate sounds of ‘UNO’ and ‘Best Friend’, Alex jumps on guitar, roaming the stage and engaging the crowd. There’s a familiar mix of singing along and random conversations around me which stifles the mood, but the genre-crossing multi-instrumentalist manages to pull the attention back with each catchy chorus. Breaking out into a cover of Alicia Keys’ ‘No-one’, everyone stops and sings and claps and hugs their friends. It’s an odd choice that he pulls off with minimal cheese. “Trust me, I adore you,” Alex sings as he serenades the crowd in ‘Corduroy Dreams’, before seamlessly sliding into the melting groove of ‘Sunflower’. Sax and trumpet have joined the staged and the vibe is high and full of energy. Alex’s youthful, creamy tone and confidently playful delivery glides effortlessly over his super tight band. Closing up with the catchy ‘Loving You Is Easy’, the whole crowd is singing and boogying to the brass and band solos. Rex Orange County is one impressive 19 year old, and his live game is on point. JERRI-RAE LEEF


Jorja Smith
Rotunda Stage, 6:55pm

Taking the stage to be greeted by one of the more raucous crowds of the day, Jorja Smith took total control of the Rotunda stage to execute a stunning set. Managing to ignore the punter with a “Jorja, will you marry me?” sign written on the back of a weekly grocery delivery service box, she seemed confident and comfortable on stage. Considering she’s only 21, Jorja had the control and self-assured prowess one would expect from a seasoned old timer. Subsequently, she completely captivated the excited crowd with her stellar vocals and caused the audience to lose their collective shit with every dance break. Her band was succinct and completely on point, managing to exude as much charm and energy as Jorja herself. I’ve heard criticisms of the Laneway Rotunda stage in previous years, largely re: the sound quality as the audience dissipates over such a large space, but this year the mixing was up to standard and Jorja’s voice carried clearly throughout Albert Park. PEARL LITTLE


High Beams
Thunderdome Stage, 7:15pm

To go up against Jorja Smith is no easy feat, especially as a local act. However, the High Beams ensemble had clearly planned something special for just the occasion. This set was star-studded. For those of you who aren’t familiar with the project it consists of IllBaz, MELODOWNZ and Raiza Biza as the core group with a selection of NZ’s finest featuring throughout the album. I don’t even know where to begin cos not only were they ALL THERE, the guests still kept coming. On top of HIGH HØØPS, TEEKS, Dirty and the legendary Che-Fu was Frank Eliesa from Yoko Zuna, Brandon Haru from Vallkyrie and Onehunga heavy-weights SWIDT. To be honest, all it took was a Che-Fu cameo to keep my heart swelling regardless of the stacked cast. Shout outs to everyone who slept on this set. I don’t know what more to say other than, it was huge. ​LIAM DARGAVILLE


Courtney Barnett
Princes St. Stage, 7:20pm

By the time Courtney Barnett plays I am peaking and absolutely fucked. At this point I am really kicking myself for not drinking more water despite every performer reminding festy-goers to do so. I'm also wishing I took Bridge up on their offer to do live food reviews on 95bFM. Maybe then my stomach would be lined and I wouldn't be feeling like an absolute creature. However, Courtney makes music. Courtney makes music well. Courtney performs her music extremely well. Appearing in her ever iconic plain white t-shirt, Courtney and co. breeze through their set with comfort and ease. Courtney's music translates from her recordings so well it's actually better live. And I really, really admire how well the recordings are done. It's rock music without the ego, it feels and comes across as authentic. All in all, the whole set was beautiful and the perfect way to end a day of sun, excess and being surrounded by fash-panted fuckwits from the North Shore. ROY IRWIN


Masego
Dr. Martens Stage, 7:50pm

Masego (aka Micah Davis) seamlessly blended RnB, jazzy hip hop and trap just as the sun went down. Opening with the earworm melodies of the US artist's infamous FKJ collab ‘Tadow’, punters rushed to the stage as the tunes were turning up as loud as punters’ outfits. A packed out Dr Martens stage vibed out as the seemingly scattershot selection of influences grew in comprehensiveness throughout the set. Vibes were high and smiles were equally big. FLUFFY


DJDS
Thunderdome Stage, 8:30pm

The mood was right, the sun was going down in the side alley street that I spent my formative years crossing from the quad to the Auckland Uni library. The LA production and DJ duo came on, my mate yells in my ear, "They are kind of nerdy and they are into the music, not themselves, I dig it." I smile, agree and ask another friend, "How do you review two DJs?" She replies, "Fuck knows, talk about the fauna in the street above." It was refreshing how into the set they were and it was super dancey. A mix of House, RnB and Pop, a celebration of their work which includes production on Kanye West’s Life of Pablo and 2017 single ‘Why don’t you come on’ featuring Khalid and Empress Of – it was rad to hear a mash-up style DJ act drop tunes that they have actually written. STEVE MATHIESON


Denzel Curry
Rotunda Stage, 8:40pm

US rap star Denzel Curry played a hyper-energised set to a youthful crowd 100% ready to take the party up a notch. Wearing a killer The Crow t-shirt and dapper red shorts, Curry's hugely entertaining performance was split into three acts (with additional bombastic orchestral intermission music), clearly conveyed to the audience by vividly-coloured, gothic video projections – complementing the artist's twisted lyrics with animated imagery like something out of a psychedelic death circus. His slamming set was arguably the best SHOW of the day, but an unnecessary and overlong tribute to XXXTentacion (complete with huge projected face looming over the audience for ages) left a gross aftertaste. CHRIS CUDBY


Florence + The Machine
Princes St. Stage, 9:00pm

After almost 10 years, Florence and the Machine made their return to play the headlining Laneway stage. In that time, Florence has been nominated and won numerous awards, released albums and toured extensively – and it shows. Florence’s closing Laneway performance was that of a truly seasoned performer as she had the entire crowd in her grip with perfect vocals, captivating choreography and a tight band. Gracing the stage in a long white peasant dress and aided by the fantastic stage lighting she appeared almost ethereal as she played her High As Hope Tour set list. One thing I noticed was that anything Florence did, the crowd copied almost mindlessly, no matter how small a gesture – something I think she realises. Florence remained utterly charming as she stopped to speak to the audience in her smaller-than-life voice that never fails to floor me in how much it differs from her singing voice. Sometimes these moments where artists stop to speak can be tiresome but Florence managed to be all the more charming and funny as she spoke about the current zeitgeist, told everyone to hold hands with a stranger, and made quips about how wasted they all were the last time they played Laneway. Florence made the most of her adoring and trusted audience, at one point disappearing from the stage only to appear almost as if by magic in the middle of the crowd, leaning over the banister to sing, then reappearing at the very front in the grip of her fans as she held hands and sung to them. The set finished with everyone singing along 'Shake It Out', a light misting of rain and a hail of confetti, a perfect way to end the 10th Laneway. PEARL LITTLE

Photo credit: David Watson


Jon Hopkins
Dr. Martens Stage, 9:30pm

English producer and electronic musician Jon Hopkins came out for a shorter one hour set, beginning with synth epic from Singularity, the pulsating singular note coaxing tired punters from everywhere across Albert Park to have one more dance. Silhouetted in front of matrix-green audio visuals, which synced to his beats to create this all-encompassing AV experience, this cinematic performance was a continuous sonic exploration. His visuals, often based on music videos, were obviously equally as important to his set, which was electronic interface-based. It touched in that classic argument with electronic music as to how performative an electronic console can be, but IMO Jon Hopkins was creating an installation for dancing, carefully considering the mood of each of his tracks and how they could be visually interpreted by the audience. He played tracks primarily from Singularity and Immunity, and interestingly I saw people of all ages and abilities dancing - unusual at any festival and a clear win for the Laneway organisers, as one of the few festivals who has made a clear commitment to inclusivity and diversity. FLO WILSON


Cosmos Midnight
Thunderdome Stage 9:45pm

As the last act to grace the Thunderdome stage twin brothers Cosmos & Patrick Liney bring us Cosmos Midnight. Opening with a recorded solo female vocal, the boys take their place on the stage each surrounded by a multitude of electronic instruments. They ease in with ‘Get To Know’, featuring the cruisy recorded vocals of Winston Surfshirt. It always feels a little lackluster listening to a recorded vocal at a live show, but it’s understandable given the amount of guest vocalists they have. Nevertheless I was pleasantly surprised to see a female singer grace the stage for the bangers ‘Walk With Me’ and ‘Talk to Me’, both of which she nails with the same vulnerable energy as on the record. A careless end-of-night-looseness encompasses the crowd, perfectly complimenting Cosmos Midnight's beats and catchy choruses. Pink light glows in the trees hovering over the crowd and it feels pretty magical. Finishing up with the super catchy ‘History’, the crowd dances out the last few minutes of a pretty rad day. JERRI-RAE LEEF


Click on the thumbnail images below to view a gallery of images by Ngamhi Pawa, with selected images by Laneway 2019 festival photographer David Watson...


Florence + The Machine - St Jeromes Laneway Festival
Florence + The Machine - St Jeromes Laneway Festival
Florence + The Machine - St Jeromes Laneway Festival
Florence + The Machine - St Jeromes Laneway Festival
Florence + The Machine - St Jeromes Laneway Festival
Florence + The Machine - St Jeromes Laneway Festival

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