Roots
Adelaide International Guitar Festival
Elder Park



When you consider this is only the second year the festival has run, you have to hand it to the co-ordinators. The musicians they selected for this particular event showcasing Australian roots and blues talent were top shelf. My only criticism, and I'll get this off my chest early, was the limited amount of time allocated to the opening three acts. Obviously their decision was vindicated later in the evening as Xavier Rudd demonstrated his mastery of all instruments in a cracking hour-plus set, but like many I had arrived when the gates opened at six and I'm sure we all could have happily eaten the tea we'd brought as some quiet strumming took place on stage.

As it was, I'd finished my pizza by the time cheeky boy Rob Sawyer started proceedings with a quick three song set. He played a bit, said hello and left before anyone really had the chance to settle in which was a shame because his gorgeous sound perfectly suited the molten red sunset cresting over the stage. That said, the close up of his finger work over those strings on the big screen was enough to sell me; this 23-year-old is well on his way to icon status to any fan of acoustic roots music.

Following Rob was a trio of unknown quantity headed by the pornographic voice of Mason Rack. I'm sure more than a few knees buckled as he bellowed "good evening" in a moment of respite after thrashing his Weissenborn from the second the MC's mic was off. I've never thought to use the words "swamp sex" together before, but there is no better way to describe the sound that was blaring around all corners of Elder Park. This trio's five song set goes down as the best introduction I have ever had to an act I've never heard of.

By now the crowd had started to gather at the front of the stage, greeted next by the defining voice of Australian blues n' roots. Again, I only counted the six songs but Ash Grunwald made the most of every moment he spent on stage, capped by a brilliant beat box rendition of Rosie and the crowd pleasing Dolphin Song.

The sharp edges of Mia Dyson offered a harder vibe post-pit stop, immediately drawing the crowd to her through the depth of her vocals and roar of her father's custom-made guitar. It was a cracking set, of appropriate length might I add, which heightened the mood of the crowd leading into a frustrating ten minute wait as Xavier's one man band set up underwent its final tune.

Stage lighting aside, there is an aura about Xavier Rudd which manages to unify his audience. He worked the crowd masterfully, greeted with almighty cheers as he laid his political and spiritual beliefs out for all to lap up. He spent seven minutes thrashing three didgeridoo's whilst playing lead percussion before switching to his Weissenborn at the front of the stage for an intimate selection of tunes. The show soon went into overtime before the crowded shouted him back onto stage to finish with Let Me Be Now.

It was an amazing end to an evening and let it be known that a dangerous precedent has been set by this event - the co-ordinators will have to pull out all stops for next year if they are to better the offering of 2008.

Ryan Winter

Pic: Mason Rack Band by Lucy Spartalis