The top 5 superb sets of Bluesfest's inaugural Melbourne edition

All images by Maryanne Window; see our day-by-day gallery of the Byron event, captured by Tam Schilling, over at our Instagram!

This little self-contained village comprised The Plenary plus two additional indoor stages, food trucks, bars and a smattering of market stalls – all within the Melbourne Convention & Exhibition Centre.

When a beaming dude cradling his baby in a chest carrier shares that he's actually the father of six (before pointing out his eldest daughter dancing beside him), we’re reminded of Bluesfest’s family-friendly community spirit, which extends way beyond its home at Byron Events Farm, it seems. Couples regularly bust out partner dances – spinning, dipping and whirling around the floor – and those who assemble close to stages routinely strike up convos with their neighbours in the crowd, sharing fan stories and music recommendations. We also appreciate the volume inside these indoor venues, which maximises audience engagement during performances.

Check out our top five Melbourne Bluesfest moments from across the two-day event below!

The Doobie Brothers

As their backdrop and kick drum (header image) reminds us, this is “The Doobie Brothers 50th Anniversary Tour”, which initially reunited Tom Johnston, Michael McDonald, Pat Simmons and John McFee on stages for the first time in over 25 years back in 2021. Woo-hoo! It’s finally Melbourne’s turn to bask in those blissful harmonies and uplifting melodies.

From the very first note, we’re pretty much in awe of how brilliant The Doobie Brothers sound and don’t even wanna sing along for fear of polluting their pristine-harmony pool. A solo dancer down front springs to her feet, powerless to the charms of song two: Take Me In Your Arms (Rock Me A Little While). We’re totally swept away by the vocal harmonies, lively double drumming – Ed Toth plus percussionist Marc Quiñones – and sax solos courtesy of Marc Russo, particularly during their timeless banger Long Train Runnin’, which poses the question, “Without love/ Where would you be now?” over funky riffs that hijack the hips.

Many punters storm the aisles to get closer to the action ahead of World Gone Crazy (“Working real hard in the heart of the city”). Swoon alert! Meanwhile, Minute By Minute showcases McDonald’s vocal prowess to perfection. Then Jesus is Just Alright is followed by the incandescent, melancholic bliss-bomb of What A Fool Believes and we’re so happy we could burst. “I'd like to hear some funky Dixieland/ Pretty mama, come and take me by the hand” – Black Water’s a cappella outro spotlights The Doobie Brothers’ rich harmonic blend and our hearts collectively melt.

“What the people need is a way to make 'em smile…” – abso-bloody-lutely! And because exactly no one’s voice deserves to share airspace with The Doobie Brothers, we lip-sync along with their closing track Listen to the Music: “Whoa-ooh-whooooooaaaa/ Listen to the mu-sic” – dancing your blues away has never felt so good.

We knew The Doobie Brothers would be great live, but they’re completely mind-blowing! And enjoying their euphonious sounds in the plush surrounds of The Plenary undoubtedly enhances our gig experience on this occasion. Post-show, the world suddenly seems more manageable – seriously therapeutic stuff.

Lucinda Williams

She’s performing again after suffering a stroke in 2020, and when the Melbourne Bluesfest massive claps eyes on Lucinda Williams, they whoop and holler their support. Having adored Williams’ Good Souls Better Angels album (2020), we're super-keen to experience these songs in a live setting, particularly given the live chops of her backing band Buick 6: a miracle blend of next-level synergy and feral energy.

The stroke left Lucinda unable to play guitar – we're sure she’s working on that – but for now, Stuart Mathis and Doug Pettibone are her badass guitarists of choice. Focus-pulling drummer Butch Norton’s swagger knows no bounds, sure, but it’s actually his powerful drumming that makes us look (on the reg). Undoubtedly, Lucinda feels not just safe in the hands of these outstanding players but also held.

There’s a chair centre stage – just in case – but Lucinda stands defiantly, holding the mic stand with her right hand. “But my burden is lifted when I stand up/ And use the gift I was given for not giving up” – in light of her recent health challenges, these lyrics – delivered with her trademark gritty, ravaged vocals – particularly resonate during Protection.

Lucinda tells us she wrote Stolen Moments shortly following Tom Petty’s passing, and we can hear The Heartbreakers’ influence all over her moving tribute. She also commemorates her late friend Clyde Joseph Woodward III (“who could cook a mean pot of gumbo”), performing a song she wrote for him called Lake Charles (where Lucinda was born).

Given that they're sharing a bill, it shouldn't come as a surprise when Steve Earle appears during Lucinda’s set. They perform Drunken Angel, Lucinda’s song about another late friend, Blaze Foley (an Austin songwriter she’s long championed): “Some kind of saviour singing the blues/ A derelict with duct-taped shoes…” Then Earle introduces You’re Still Standin’ There – a song he wrote specifically with Lucinda in mind, which they first recorded together in 1996 – and we feel blessed to witness something so special.

We’re then treated to a new song off her next album – Stories From A Rock n Roll Heart, due to drop in June – and Let’s Get The Band Back Together is a humdinger! You Can’t Rule Me, her Memphis Minnie cover, is a standout but nothing could’ve prepared us for Lucinda and co’s rendition of Neil Young’s Rockin’ in the Free World, which is a reciprocal endorphin exchange between performers and audience. In a show of fist-pumping solidarity, Lucinda walks determinedly to the lip of the stage looking completely transformed – the healing power of live music, right?

Buddy Guy

Prior knowledge that this is Buddy Guy’s last-ever tour of Australia adds gravitas. Following his opening song Damn Right, I’ve Got the Blues, Buddy hollers, “If you ain’t got the blues, you’re in the wrong f------ house!” At 86, Buddy is an inspiration and – aside from his extraordinary guitar playing – his winning smile and cheeky banter further endear him to us: “Melbourne, I’m gonna play something so funky you can smell it!”

After pausing during (I’m Your) Hoochie Coochie Man’s first verse, expecting us to take the “...son of a gun” part, Buddy admonishes, “I didn’t come all the way here for you to f---- that song up like that!” Following much laughter, he encourages us to try one more time (with feeling), and we deliver.

Buddy’s trademark hijinks – such as pulling his ear with one hand while bending notes on guitar with the other – are super entertaining and we’re delighted I Just Want to Make Love to You is included in the setlist. There’s also spontaneity galore as Buddy customises lyrics (eg. “I came to Australia, to mess wit you”).

“They quit playin’ blues on the radio for some strange reason,'' Buddy bemoans before admitting he initially suspected this was due to some questionable lyrical content. But then hip hop came along: “You can sing what the f--- you want now!” Howling through well over a half-century’s worth of material, this master bluesman shows us how it’s done. And, furthermore, while rocking dungarees like no other.

C.W. Stoneking

He drew the short straw clashing with the end of Buddy Guy’s set, but the always-dapper and bowtied C.W. Stoneking – backed by a multi-instrumentalist two-piece brass/bass section and drummer – once again transports us to the charming, authentic, old-timey sonic universe of our dreams. Arriving on stage clad in all-white (shoes and all), and glowing under the stage lights like a Casper the Friendly Ghost hologram, Stoneking gazes out at this “strange environment” before quipping, “Is this where they repair the Millennium Falcon?”

When Stoneking launches into Goin’ the Country’s intro – putting on different voices in dialogue with an invisible mate – we’re reminded there ain't nobody else on the planet quite like Stoneking. Just prior to Mama Got the Blues – which brings to mind an elephant sauntering along with shoulders slumped, singing forlornly – Stoneking checks in with one of his bandmates: “In B-flat, innit?” During The Zombie, which is peak wacky, a few fans even spontaneously supply the “to the left, to the right” and “Mama! Mama!” BVs, unprompted. The Love Me or Die’s ebullient brass parts sure do get the crowd moving, and Jungle Blues sounds like a secret party for chimpanzees.

Those entering Bluesfest Melbourne’s Music City Stage who may have previously been unaware of Stoneking’s existence could be forgiven for thinking they’d slipped into a parallel universe. You never know quite what you’re gonna get with Stoneking, but can rest assured the musicianship will be top-notch. His unique style of banter will crack you up between songs as well.

Russell Morris

“On the wings of an eagle I find myself lifted through the skies…” – earlier this week, Russell Morris performed The Wings of an Eagle as part of Renée Geyer’s memorial service, and we’re thrilled we get to experience this divine song live twice in one week. While introducing The Drifter – a song featuring Geyer from his acclaimed Sharkmouth album (2012) – Morris honours the late Australian soul and jazz icon: “I’ll try and sing Renee’s part.”

The sunshiney, “na-na-na-na” goodness of Sweet Sweet Love uplifts punters, and as for show pony Pete Robinson’s guitar solo during Morris’s far-out classic The Real Thing – yeowzas! Well played, sir. We also can’t get enough of Robinson’s accurate, guitar-generated mozzie buzzes; he even follows an invisible flying insect with his eyes, as if tracking the source of the sound, until drummer Johnny Creech ‘squashes’ it with a timely thwack.