Australian sample kings The Avalanches rolled onto a drenched Apollo stage at Roskilde Festival facing a crowd that had endured one of the wettest days in modern memory at the annual event. Unfazed, the iconic Aussies, armed with the talents of Baltimore rap starlet Spank Rock and the moxie of vocalist Eliza Wolfgramm took to the stage backed by a witty, quirky, peculiar, lovable mash-up of sampled sounds.
Not quite an avalanche
It was always going to be a hit or miss affair, as the torrential summer rain wept down, unrelenting against a backdrop of mud and wasted figures clad in wellies and waterproof garments. Under the circumstances, The Avalanches just about managed to get the evening’s festivities started with a show that began in lamentably inaccessible fashion (for all those for whom their music was unfamiliar). While seminal tunes such as ‘Frank Sinatra’ are indeed recognisable, their repetitive verses could arguably have been cut to get the fire burning sooner.
The show turned in the right direction, however, with a sparkling rendition of iconic cover track ‘Guns of Brixton’, which saw Wolfgramm swing a baseball bat in tandem with the music – a direct reference to the Brixton riots of the 1980s, epitomised with great effect by The Clash, who lay claim to the original track. This being Denmark in 2017, few recognised the symbolism in it, so its application was more peculiar than it was entertaining.
Perhaps The Avalanches recognised this (or their pre-planning did anyhow) – their tune selection thereafter yielded nothing but positive responses from a gumboot-clad crowd that kicked into gear with a bang. Synth delights such as ‘Subways’, the leftfield ‘Flight Tonight’ and thumping banger ‘The Radio’ definitely had the desired effect – The Avalanches owned the Apollo Stage (rain-strewn and haggled as it may have been).
What (sample) sorcery is this?
Theirs was a sampling act that spanned genres ranging from soul to hip-hop, all cooked together into one messy, blissful mash of curious tunes that got feet stompin’ and shone a welcome light onto a dark, drenched festival.
Yes, at times their profound samples made only sense to them and a handful of dedicated aficionados, but this is a band with two studio albums 16 years apart – an act whose versatility and eclecticism are a joy to behold. Bands such as Chinese Man and Hocus Pocus may have won younger audiences in recent years with their sample magic, but it is theses troubadours of the mould that leave spectators with something to think about long after the stomping, screaming and sing-alongs grind to a halt.
On Friday night they were seminal albeit patchy and inaccessible at parts. But who cares? They got a muddy party started and credit is due for this at the very least.
