#wamfest

[timelord-jay]

Neon Trees 5/17

[nevdunn]

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Wonderful surprise support @nightanddaycafe from @le_prince_miiaou #livemusic #guitar #drums #wamfest2018 #wamfest #newmusic #newmusicfriday (at Night & Day Cafe) https://www.instagram.com/p/BpIJ_2DAcU7/?utm_source=ig_tumblr_share&igshid=1dp15ga1gdhw6

[vanessahopes]

Massive thanks to @wam_musicwa and @themusiccomau for featuring me in their review of 2017’s jam packed live music festival @wamfestwamusic! I had a blast performing at @universalbarperth 😉🎤🎵 #bringon2018 #music #musician #livemusic #performance #review #wamfest #singer #songwriter #excited #singersongwriter #me #producer (at Universal Bar)

[jjzervakos25]

I just have the coolest kid 🤘🏻😎🤘🏻 Two years ago @rykie_boi is jamming at @wamfest and this year he’s kickin it with @frankieromustdie 🤘🏻😎🤘🏻 #wamfest #frankiero #FIATFV #hobdallas #punk #punrock #music #guitarist #timehop https://www.instagram.com/p/BxHuNLfj6J-/?igshid=99rr73f15wy4

[patogiacomino]

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Muy divertido el concierto de @fangoriaoficial anoche en el #wamfestival2017 gran noche de música y diversión!!! #wamfest #murcia #music #live #fest #musicfest #spain #fangoria #alaska (en WAM Estrella de Levante)

[frankiefellinlove]

Just a joy to watch & listen to!

Bruce at an event called WAMFEST at Fairleigh Dickinson University in New Jersey on May 6, 2010. Bruce recites a poem "Jersey Rain" with Robert Pinsky and then they duet on "The Promised Land."

2nd part below https://youtu.be/kc6xPO8VLmA

[theend-times]

A successful WAMFest Friday 😍 @greatgablemusic @kaitykeegs @joys_theband #wamfest (at Amplifier Capitol) https://www.instagram.com/p/BproSFFnoMw/?utm_source=ig_tumblr_share&igshid=3zs34390wizd

[imaginaryculturepress-blog]

TFTP: WAMFest 2017

In which we photograph at a church, hang out at a bar, and win a bet.

Stranger Things may have been the reason for this post’s delay… … Hi, hello, and welcome!

My name is Skyler and if there’s one thing I love, it’s the festive season. No, not the Christmas festive season, I mean the music festival season. Late spring and summer (and autumn and the beginning of winter) mean endless festivals all over the place, and I’m stoked that it’s commenced. Unfortunately, the majority of large festivals in Western Australia are in fuck-knows-where (I’m looking at you, Groovin’ the Moo), though there are a few local ones that I’m immensely thankful for. One of these is WAMFest, for despite its problems – and believe me, it has a lot of problems – it’s a wonderful event that would’ve been way better if I found out about the Kiss My Camera awards sooner. I obviously wouldn’t have won; I don’t think they’d even consider my work “entry-level”, though it wouldn’t hurt to support more of Chris Kerr’s work. (I’m trash get over it.)

EXT. SHADY PLACE IN LEEDERVILLE WITH HORRIBLE LIGHTING – EVENING

I suppose we’re using screenplay intros now. There was barely anyone at the venue when we arrived. The only people around were the staff, artists (not even all of them), some performers’ mothers, and that random forty-year-old who looked like he resided in the comic book store from The Big Bang Theory. As the evening progressed, however, I’m thankful to say that more fans rocked up. Michael Uru didn’t have a full audience to commence with, though the first act did quite a remarkable job with his crowd of three. If I were in his position, I would’ve just screamed, “fuck this” and gone to find some shady bar to drink away my issues. But this guy had no such issues, nor was he the reason for the lack of crowd. So performing he remained. It was actually a better performance than I expected. Not to offend him, but as someone who prefers Cannibal Corpse and mosh pits to rap and raves, I wasn’t expecting to greatly enjoy any of the sets. (My honesty will ruin my chances of booking artists, I know.) But as I said, he did better than I expected; his songs were both catchy and sophisticated, with intriguing technological and lyrical elements. And his threesome turned to a foursome, fivesome, and soon to a proper crowdsome. Intermission. Lucid Reality: a bunch of random dudes rapping random lines as I took random photos from random angles, who did rather well at rapping random lines as I took random photos from random angles. The members reminded me of those shady kids from school, though I doubt the shady fuckers could perform this well. Intermission. Leon blinds me with his speed light. (Check his work out here; he’s freaken incredible.)  Hasmatt’s debut gig was set to be great, but I doubt anyone expected them to be this good. Personally my favourite set of the day, the band displayed an outstanding stage presence and audience involvement, and reminded me a bit of Homebrand – minus the demolition and screams of “PLAY INSOMNIA”. The crowd went from jump-on-your-friend’s-face ecstatic to mesmerised by Clauds’ solo, thoroughly engaged by a thoroughly engaging band. There honestly wasn’t a single thing I could fault about their set, except it probably could’ve been longer - but that wasn’t up to them anyway. Essentially, if you’re after a new rap act with vocal diversity and quite the live show, go check ‘em out! Intermission. If there’s one thing all the bands at this gig had in common, it was their extremely memorable lyrics. Modern Day Crisis was the perfect example. MDC: When we say “Modern Day”, you say “Crisis”!MDC: Modern Day!Everyone: Crisis!MDC: Modern Day!Everyone: Crisis Repeat this another fifty-six times and you’ve witnessed half their set. Which, quite frankly, isn’t a bad thing; it’s quite fun to shout those lyrics, especially on the train coming back from the gig. (This is why you have no friends, Sky.) Their set was quite enjoyable, and I had heaps of fun running from one end of the stage to the other, attempting to photograph these upbeat rappers. I realise that sounded sarcastic, though trust me it’s not. After their set, t’was time to head back home while screaming “Modern Day Crisis” at elderly women. (I know you told me to stop traumatising the elderly, Jas. I’m sorry.) Up next was Saturday, the day that usually follows Friday. I had four bands and artists at three venues lined up: Darling, Sydnee Carter, Flossy, and Julie Kember. I hadn’t worked with any of these musicians previously, and I was excited as all frick. After all, Julie’s set was going to be in a bar. As someone under eighteen, this was a wonderful opportunity to get drun- I mean to take lots of photos… yes… uhm… photos… let’s just move right along, shall we? INT. TRAIN, JOONDALUP LINE – EARLY AFTERNOON

I should begin mentioning the people I see on trains. We all encounter them from time to time, though it’s always amusing to emphasise their existence. So on that note, let’s discuss the many hooligans that accompanied me to the city. There were a lot of them. People – busy people, wise people, people with long beards, people who hadn’t slept in a week, and people in band merch who were definitely headed for WAMFest – all stacked against each other like sardines. Most were on their phones, avoiding any and all social contact, and there was the occasional mother chasing her children and worthlessly yelling “no” and “stop it”. Thankfully we were in the city soon enough to escape that madness, and headed to Virgin to pick up some phone credit. (Side note: The main reason I’m with Virgin is because it just proves how asexual – and forever alone – I am. It also provides me with free calls and texts to my grandmother.) This short trip was followed by a visit to Wesley Church, where the first group was playing. INT. WESLEY CHURCH - Screw it, I'm not doing these screenplay things.

I’m not a church person. I don’t go to church. I don’t even leave the house, though when I do, it’s certainly not to attend a venue like this. Don’t get me wrong; I have nothing against religion - just don’t get me involved. However, I couldn’t resist the chance to shoot something different this WAMFest, thus why I sought (and fortunately received) the opportunity to work with the talented as – I’m not allowed to swear in this segment – the talented Darling. (There’s a thing with religious people about no swearing, right? I don’t know. I’m not up to date. Just attack me in the comments section or something.) For those of you who are like me and don’t usually listen to or give a – care about – choirs, I can assure you that Darling is no ordinary group; their amazing vocals are only a minor aspect of their performance. There’s something about these girls. I don’t know what it is, but it’s wonderful. They’re wonderful. Their passion is prominent and performance compelling, and they add uniqueness with their insertion of personality. Each member has a different voice, yet together they work so harmoniously. Hearing everyone’s solos was also incredible. But I may have ruined their performance… As I previously mentioned, I don’t attend churches. That means I had no clue as to how squeaky those floorboard were, or how loud my camera shutter really was. After all, I usually shoot at HQ, which has concrete floors and deafening speakers. Here there was none of that. So with each step I took, the ground beneath me creaked and an old lady wished death upon me. And I moved around a lot. It’s a miracle I wasn’t murdered. (I’d like to take this opportunity to apologise to Darling and offer to shoot for them again. You know, with a quieter shutter. And preferably at a less squeaky church.) Intermission. Grill’d stopover. Vegan burgers. I couldn’t stop thinking about all the editing that I had to do: seven bands’ worth, all of which had to be completed by Sunday evening. I personally don’t mind editing, though it takes around an hour per band and is done with full brightness, so you can imagine the visual strain and headache that us photographers have to endure.  But it’s part of the job and I love it regardless. Next up, we had to figure out where the Lot Party was. I knew its approximate location, however it still seemed a bit misplaced. Thankfully t’was easy enough to find… but the security checks were a bit of a nuisance. Sec. Guard: Sup in your backpack?Me: Camera gear.Sec. Guard: Open yer bag, ma’am.Me to myself: Don’t ma’am me…Me: *Obliges.*Sec. Guard: The hell is this?Me: …Lenses?Sec. Guard: Whaa ??? Ya can’t bring that in!Me: I’m shooting for the bands.Sec. Guard to his colleague: Huh ?? Get that manager ‘ere !! Oh the amount of times I’ve had to speak to managers… I’m not a very social person, dudes. If I can’t have a normal conversation with a person, it means I definitely cannot speak to high authority personnel. There’s a reason I run from cops, mate, and it ain’t due to the weed in my bag. Wait what The manager dude came over. I anticipated another round of questioning, similar to the style I encountered at the Alice Cooper show. I was luckily spared such exchanges. Manager: Wussup.Me: Camera gear.Manager: Ya should have a pass but that ain’t none of my business… go in.Me to myself: It ain’t my fault I never received one… but thank you anyway. Inside, I saw a few people that I knew. They were mainly bands, including Sly Withers, Rag N’ Bone, and that one group that I keep seeing everywhere but don’t know the name of. I could see Sydnee setting up on stage and soon got in contact with her and her manager, both of whom were lovely. Her manager told of how WAM failed to organise a pass, however I should be able to get in front of the barricade to shoot. When shooting time came, however, those goddamn security guards weren’t giving a shit about my job. Me: *Entering in front of barricade.* Sec. Guard #2: NO NO NO NO NO Me: But I’m- Sec. Guard #2: Njet! Me: But- Sec. Guard #2: Nein! Me: I- Sec. Guard #2: Shoo! Me: Well fuck you too. So behind the barricade I remained. Apologies to Sydnee about that. Blame WAM though. Sydnee’s set was fantastic. Her voice was impeccable, her playing equally as fantastic, and her band beautifully complimented her style. I’m quite a fan of her material, and loved seeing her play live. She’s got this humble, simplistic nature to her that highlights her personality and strengthens her performance; it’s brilliant to see. Not to mention the emotion and passion she projects. Intermission. Met Sydnee’s father. He was also a splendid fellow. My mother wanted to go and visit some nearby store, so we left Lot Party in search of it. T'was closed by the time we arrived, but it's fine because on the way back I saw a dude with a shirt that said "PERTH VEGANS UNITE". I would've complimented him, but we were crossing the Horseshoe Bridge and I didn't wish to be run over by oncoming traffic. Then my mother saw Daryl from Homebrand. She said, and I quote, “Hey look, it’s Insomnia dude.” I was too blind to see. Turns out that he – likely accompanied by everyone else from every HQ gig – was leaving, as WAMFest advertised Lot Party as an all-ages event, yet didn’t allow under eighteens to enter without a legal guardian. WAM later got in touch with me (regarding that overdue photo pass), and I used the opportunity to complain on behalf of everyone. This was my reply email, as you may’ve – probably not – seen on my Instagram story: “No worries, Aarom, I fully comprehend your troubles. It was such a large event, I'm astounded you guys managed to deal most - most - matters! We were able to get in and organised relatively well, however we do have a few concerns that may - and most likely will - affect your future WAMFest outcomes and ultimately profits. Our predominant issue was encountered by underage patrons at the venue of Lot Party: Advertised as an all-ages premises, it drew immense attention from teenage music fans, who were, quite frankly, your most crucial promoters; they brought more and more people to your events, and no other marketing techniques are as effective as kids online. Throughout the evening, numerous under eighteens flocked to the gates, attempting to, well, enter, though were refused entry as "a legal guardian" was supposedly required. However, this prerequisite was not listed publicly. As I'm sure you're aware, deceptive advertising is considered illegal, so I suppose you're all fortunate to have had WAMFest be a free event. (The inconvenience caused is quite atrocious, though.) We could technically seek transport compensation, though that's a large effort for a few dollars. (But if you're willing to pay up, I mean, I'm sure nobody would mind the extra cash.) I am aware that an informal notice was consigned via Facebook, one that read: "We provided a 500 capacity all-ages space at the back of the venue with seating, shade, food vendors and a digital graffiti wall. I apologise that it wasn't communicated that you couldn't stand front and centre, but we also programmed two other free all-ages stages at Forrest Place and Wetlands. Thanks for coming and your feedback will be discussed at out event debrief." However, providing a copy and pasted message - complete with typos and all - of apparent apology is unjustifiable, particularly due to the fact that guilt tactics were equipped to belittle the crowd (see: "I apologise that it wasn't communicated that you couldn't stand front and centre, but we also programmed two other free all-ages stages at Forrest Place and Wetlands"). All your message reads - and correct me if I'm wrong - is: "There was some room behind the gates for around thirty of you to somehow squeeze in to maybe potentially somehow not really see the top left hand corner of the stage. This way, that area didn't even constitute as an official part of Lot Fest, much like a carpark doesn't constitute as part of a venue, which allowed us to serve booze without getting sued; making us an exceptional profit. To make you feel comfortable, though, we gave you the option of food, undesirable activities and a one-3m2-tent-fits-all setup. If you still dare be ungrateful, however, you could've attended one of the other events we organised (with less interesting bands that we knew you couldn't mosh or break your necks to). We couldn't care less as to whether or not you are satisfied as WAMFest is far more wide-scale than that (and our profits were outstanding regardless), though we'll pretend to discuss it at a meeting that will probably never take place anyway." In all honesty, I don't see why you couldn't have been blatant with everyone. Oh, right: because that makes you appear like the bad guys. Wouldn't want that. Quintessentially, your handling of the matter - and the matter itself - was atrocious. Speaking of atrocious, the security didn't even allow photographers into the photo pit? What's the point of a photo pit if there are no photographers in it? Do you even need a barricade then? Perhaps this changed throughout the evening, though during the first few sets at Lot Party (I swear everything happens there), your security refused photographers entrance to the pit. Sorry, the supposed pit. For someone working directly for artists, this not only affects my portfolio but the material that said artists pay for. And if you even consider telling me to invest in a better lens, I will flip the fuck out. I must add, it was far easier entering The Laneway Lounge - you know, that bar - as an underage photographer than entering Lot Party with a parent. Concerned? You should be. Not by Laneway, for they followed precautions and did everything perfectly, but LP's staff. I appreciate security clearances such as bag checks and whatnot, but if a kid can get into an 18+ location easier than a supposedly all-ages one, then all I can say is this: what the heck?! I believe I've addressed these points rather clearly. Thank you kindly for your time. I look forward to your reply and having you guys discussing these issues at your supposed meeting."

This was what I received:

“Thanks for your email. After a ridic huge #WAMFest week (thank you to everyone involved!), I'm taking some time out overseas to recover.  Back Monday 13 November, so appreciate your patience til then. Anything needing a response before then can be sent to Kate at admin@wam.org.au.Thanks.” “To recover.” My email was predominantly for amusement, though I would’ve loved to see an actual reply. Anyway. The next act I was working for was Flossy, your favourite thrashy, punkish rock band. I honestly love the atmosphere that these guys set, and their music is great. Unfortunately, as I was filming for them, I only managed to capture three still images and was too focused on filming to actually pay attention to what was happening. However, I do have to say that from what I saw on the recorded footage, their set was 11/10. Intermission. T’was finally time to head to the Laneway Lounge, a bar – yes, a bar – located somewhere near Grill’d. Getting in was surprisingly easy, easier than getting into Lot Party, though the staff kept giving me weird looks. Yeah, I’m under eighteen. No, I’m not a demogorgon. Chill, bartenders, chill. Being allowed in also meant I won a bet at school: “You can’t get into an 18+ location until you’re eighteen.” Well, kid, you’re wrong. Now pay up. Julie Kember was soon up. I loved how she had her mother there watching her, t’was nice to know I wasn’t the only one. But seriously though: this lady has a beautiful voice. Her songs had stories and she were different from what I usually photographed, but similar to what I enjoy listening to. (No, she doesn’t play heavy rock.) T’was the perfect way to end a wonderful evening, and I thank Julie for both playing and hiring me. It was quite an interesting experience to shoot this gig, as there were so many new things happening. I usually shoot at one place (HQ), so this change of scenery was great. It also exposed me to not only new shooting techniques, but venue styles; it was a restaurant/bar, and in the live performance section you had tables lining the walls. So there were couples, elder families, and friends all seated along the edge, calmly viewing the show. It was like shooting at the church: a brand new experience. I loved it. It refreshed my aspirations of wanting to tour as a photographer, to continuously visit new cities and shoot not only in unique venues, but also around them; even the trip to the Laneway was eye opening. I’d walked past there many times, though never with any intentions (other than to eat at Grill’d). Spending a whole day shooting at different places really exposed me to more of what was happening around me. I know it sounds stupid – heck, it sounds stupid to me – but if you’ve been in that scenario, you understand. It’s a special kind of euphoria, a living nostalgia. It’s knowing that you’re finally succeeding in your ambitions. It’s simply wonderful. Intermission. Oh, wait… t'was over. So… yeah. That was that. Up next: The Faux at the Garage, w/ The Encounters, Those Who Dream, and Asheligh Carr-White. And up next in the 12 Days of Christmas: a new subgenre of photography (out tomorrow). MUSICAL SUMMARY: Michael Uru: humble, dedicated, and wonderful/5 Lucid Reality: are you my dealers/5 Hasmatt: take my money/5 Modern Day Crisis: wHEN WE SAY “MODERN DAY”, YOU SAY “CRISIS”/5 Darling: underestimated/5 Sydnee Carter: stunning performance/5 Flossy: hell yeah!/5 Julie Kember: modern nostalgia/5

PHOTOGRAPHICAL SUMMARY: Lenses: yaaaaaaaassssssssss/5 Lighting: some was better than others/5 Camera: ain't complaining/5 Editing: painful/5 My sanity: whaaaa/5 Today’s gift goes to HQ, in the form of new lights that aren’t red, green, or any other colour that makes me suicidal. Y’all are welcome. Live long and headbang, xx-Skyler Slate ps. JB HI-FI sponsor me pls.

[mikeybnguyen]

My credentials just came in. I am now an official photographer at the 25th annual Wildflower! Arts & Music Festival in Richardson TX.

This weekend's lineup includes X Ambassadors, The B-52s, Lynyrd Skynyrd, The All-American Rejects, Shooter Jennings, Guster, The Motels, Night Ranger, Bowling for Soup, Orleans, The Outlaws, and many more.

If you're never been, it's a long running music festival that bring bands from all different eras: 70's, 80's, 90's, and beyond. You've got everything from classic rock to hard rock, alternative rock and even some country music. Past acts have included Peter Frampton, Toadies, Hoobastank, Alien Ant Farm, Soul Asylum, Pat Benatar, Kansas, Blue October, Everclear, .38 Special, Fuel, Cheap Trick, Joan Jett and the Blackhearts, The Wallflowers, Gretchen Wilson, Grand Funk Railroad, Smash Mouth, Nelly, Dashboard Confessional, Whitesnake, the list goes on.

I know the weather's kind of iffy this weekend, but if you can make it you're in for some really good music and fun for the whole family.

[tether-music]

LAST NIGHT ✨ see u next weekend at WAMFest !!!

[don-lichterman]

WAMFEST 2022: ‘World’s biggest’ homegrown music festival returns for WA Music Month

WAMFEST 2022: ‘World’s biggest’ homegrown music festival returns for WA Music Month

Perth is set to come alive for an epic showcase of live and local music as WAMFest returns — the biggest celebration of its kind in the world. With the days steadily warming up, it’s time to emerge from hibernation to experience the annual music festival that showcases WA’s best and brightest talent. WA music’s night of nights kicks off with a free party on Saturday, November 5 at Perth Cultural…

[checkoutafrica]

Adrian Dzvuke: The Zimbabwean Voice Rocking Australian Airwaves and Festivals

There is already quite a buzz around Zimbabwean born singer and songwriter, Adrian Dzvuke. He is an award winning RnB and afro-fusion artist killing it Australia. His start story is close to unbelievable of how him and his friends believed so much in their abilities that they saved up to start a band and the journey has been amazing ever since. This dedication with his friends comes from the musical DNA of this father who was heavily invested in the church band. Moving to Australia at a tender age of 12 didn’t stop him from following his dream and closely paying attention to the Zimbabwean local musical scene. Fast forward to 2020 he intends to work with seasoned artists such as Takura and has profound respects for veteran dancehall artist Winky D.

GreedySouth  describes Adrian’s sound as ‘a blend of Trapsoul and Afrobeats, Bryson Tiller and Mr Eazi’. He has a special trait in him of moving against the tide, having performed his first sold out show during the Covid-19 pandemic, fighting the tide if you ask me. He is equally at home on stage or with his band, exceptionally delivering his soulful mixture of R&B and AfroBeats. Adrian and his band have become West Australian’s most in demand emerging acts as evidenced by performances at Perth Festival, Groovin The Moo, WAMFest and Wave Rock. During Nasty C’s Australia tour, Adrian was one of the opening acts.

Listening to his music one can pick the influence of live instruments. On his rise he was inspired by Wizkid, Childish Gambino and Drake to pen down his own work. Adrian made a name for himself with the track Confidence which got him on the radar of music labels and major publication in Australia. He has follow up singles such as “Bad Like Riri” which have been also well received. He bagged a song of the year award from West Australian Music for his jam titled ”Bad like Ri Ri”.

His social media spaces are evidence of how much on an energetic performer he is making his stage appearances memorable. Adrian’s recent run of singles such as ”Bad Like Ri Ri”, “Confidence” and “One time” and ”Darling” have enjoyed airplay on Triple J and Beats 1, with placements on major editorial Spotify playlists including ‘New Music Friday AU & NZ’ and “Urban Flavor” amassing over 250 000 streams. Adrian recently released new single titled Feelin’ Myself. Feeling’ Myself is now available across all musical platforms. Check it out below;

Adrian Dzvuke – Feelin’ Myself

The post Adrian Dzvuke: The Zimbabwean Voice Rocking Australian Airwaves and Festivals appeared first on CheckoutAfrica.

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[nevdunn]

Wonderful night @nightanddaycafe for @wamfest orchestrated by @mr_dave_haslam : @theorielles had some limited vinyl - now signed #grateful guys. #limitededition #limited #vinyl #vinylcollection #vinylcollectionpost #Single #music #livemusic #video #musicvideo #manchester (at Night & Day Cafe) https://www.instagram.com/p/BpJirh6A1vo/?utm_source=ig_tumblr_share&igshid=j51ie6cq8vsy

[leanpick]

Nashville-based Ruby Boots heads home for massive WAMFest

Nashville-based Ruby Boots heads home for massive WAMFest

Nashville-based Perth country rocker Ruby Boots leads the always epic line-up for this year’s WAMFest, which takes over the town on November 1 and 2.

More than 100 local artists have been announced for this year’s free-entry festival, including Abbe May, Daybreak, Demon Days, Downsyde, Gazey, Riley Pearce, Your Girl Pho, Dulcie and New Nausea.

Camera IconYour Girl Pho will be part of another…

[nsnelleksz-blog]

WAMFEST PROMOTIONAL VIDEO 2018

Role - Cinematographer

Cinematographers

Nikkita Snelleksz

Jani Horn

Talia Smith

Liz Blackshaw

Chelsea Slingers 

Nathan Davey

Editor

Chelsea Slingers

Audio

A Burden To My Lover - Flossy (I do not own this song, it is property of the creator)

[sparkletunnel]

☔️weekend funkast ☔️ thursday: @arttooth gala friday: @wamfest setime 6:15 friday: djset @thebasementloungefw 9PM saturday: dj set @ovdallas 7PM pic by @duane_mcdaniel