The anthemic Billie Eilish had the crowd in a rapture from the moment she swanned on stage. After repeated requests from the audience to turn up the mic, the technical glitch was promptly righted and the intensity escalated. The heavy bass tones, a compliment to the wispy yet vibrant vocals of Eilish.

Tucked away amongst the sandstone walls, the Spinning Top stage aptly welcomed (Sandy) Alex G. The indie four piece glided through their set with Alexander Giannascoli gritting his teeth, literally, as he delivered his poetic gems. As each track went, the more they came. Lifting in their levels of comfort on stage the band became livelier as the timely crowd swelled to discover for themselves the bitter lyrics covered in saccharin sweet alt rock.

Rolling Blackouts Coastal Fever promptly following on with a blistering set. Wave after wave, a full bodied assault with each band member clearly energised by the enthusiastic crowd. Tom Russo and Joe White trading blows with electric and semi acoustic guitars thrashed to within an inch of their lives. Swirling reverb and feverish drumming bouncing from the walls. A full pace attack and executed with festival precision.

Bringing some much needed funk to the fore, direct from L.A., The Internet saw the crowd erupt. Remarks from Syd tha Kyd about the heat, in part regarding the humidity of the day but by and large in reference to the passion they ignited in the crowd. The backline of funk, rattling bones and drawing the crowd into a collective pulse. The boyish good charm of Syd tha Kyd electrifying the audience, whipping the already frenzied crowd into a breakout funk session.

One of 2017's big acts, Wolf Alice was one of the must catch acts on the Laneway Festival bill. A Gatling gun rapid fire of opening tracks proved why Wolf Alice has achieved the critical acclaim they so richly deserve. Ellie Rowsell’s feisty approach is well recognized but the balls to the wall delivery from Joff Oddie and Theo Ellis was otherworldly. Intense, brutal, crazed, yet delivered with a smile as if basking in the appreciation of a slightly staggered crowd. Every compliment, every accolade and every achievement for the band, completely and utterly warranted.

One New Zealand's finest exports, Aldous Harding graced the Spinning Top stage with her mysterious and tempestuous persona. Arguably the festival highlight. The focus she commands with one look, one wink, and one winch. Sheer passion and in equal part pain, delivered with agonising simplicity. An artist that tears through any barrier, leaving the listener as raw Aldous herself. A set that pulls at every heart string that by its close, the enraptured audience was as mezmorarised as any that had the pleasure of witnessing a truly ground breaking performance.

A subdued but appropriate performance by Father John Misty. Considering the subject matter he addresses, it is hard to gauge what would be a suitable performance yet the mere stature of the man makes up for any artistic misgivings because of how his work touches so many people across so many different social spectrum. The band in full flight but held in check with the sway of Father John Misty and to what direction the performance was allowed to follow. The audience hearing what they wanted to, the hits, the bearded magician but was it riveting? Sadly no but tis the lottery we take with man plagued by disaffection with society which he regals us all of so often.

Nearing the end of the festival, The War On Drugs took centre stage. The alt-country 6 piece, something of a departure from preceding acts. A hard act to pigeonhole as their signature sound traverses so many genres with a stoker in each fire yet uniquely all onto their own. The 'Boss' blended with a taste of Nashville giving the distinctive style we have come to know of this Philadelphian outfit. One that has catapulted them into the collective conscious of a global audience. Immersive, broad and appealing in their multi genre splay of rock.