Queenscliff Music Festival 2024 review

Images: Craig Johnstone

A change of festival director and several of the “Q Crew” staff brought a few changes to the site layout and operations, but nothing too dramatic or drastic. An almost seamless handover of management appears to have the festival in extremely good hands.

Having moved slowly towards a more folk, country, and family-based lineup over the past half decade or so, Friday night was highlighted by Bob Log III with his breadmaking machine thrilling the locals, if not confusing them somewhat. His at times bizarre performance was definitely the Friday night highlight for those unfamiliar with his antics.

Saturday saw multiple ARIA award-winning blues singer songwriter C. W. Stoneking take the crowd back in time somewhat, and with his full band it was a real treat. He certainly sits alone as a unique and unreplicated star of the Australian music scene.

Kasey Chambers made a return to the main stage again this year. Kasey’s raw and honest talent was on display for all to see, and with her dad Bill Chambers on guitar there were plenty of tales told between songs, including some great life advice from dad. It was another solid set from Kasey backed with funny and heartwarming stories. A minor self-imposed technical glitch from Casey got a good laugh from her band, too

Saturday was headlined by New Zealand legend Marlon Williams. Funny, witty, and a true showman, his voice really needs to be heard to be believed. With an incredible backing band and extensive back catalogue, Williams is an act that you must see live.

The festival has always been surrounded with a great sense of community and family, with a wide range of music and activities for all ages. This year was particularly family-friendly with the midday Sunday slot being filled by the generational favourites The Wiggles (Sound System). Red Wiggle Murray and purple Wiggle Jeff got the old(er) and young members of the crowd dancing early. It was great fun for everyone involved.

Further Sunday highlights included Cash Savage & The Last Drink belting out a set of raw rock as only Cash can do, this set dedicated to her bass guitarist Nick Finch, who celebrated his birthday on stage, raising a glass of bubbly to the crowd. Cash’s songwriting is more than just storytelling, her subjects and inspirations leaving everyone with something a little deeper to contemplate and consider. Stalking and staring down the audience at times, personal favourite “Keep Working at Your Job” was amazing.

Recent ARIA winner Emily Wurramara played to a packed Hippos stage and delighted the audience with her engaging storytelling. Having already achieved so much, we predict that Emily is bound for stardom and soon to be a household name.

Jack Botts played the main stage, and although we were unfamiliar with his work, his easy listening and immersive tunes suited his afternoon slot perfectly.

Grace Cummings, hot off a tour of the US, UK, and Europe, was a particular favourite amongst punters and was the first act identified when we asked the “any particular highlights?” question to old and new friends. Yet another artist we caught most of, but who certainly requires further listening.

Mick Thomas’ Roving Commission closed things off on the Hippos Stage and the former Weddings Parties Anything frontman certainly didn’t disappoint. It was great to see Squeezebox Wally and Jen Anderson along with Mick belt out some old Weddos classics such as Step In, Step Out and a great version of A Tale They Won’t Believe. The cashless version of Ticket in Tatts (which traditionally sees the band pelted with spare change) was a version we’d not seen before, but it sounded as good as ever.

Not for the first time, Jan Juc’s local (via Noosa shire) Xavier Rudd headlined the main stage Sunday. His own blend of humanity, environmentalism, indigenous rights and spirituality rang true with the weary if not enthusiastic audience for one last burst of energy.