Raw Ink Magazine - January 2012

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art | design | music | writing | creative | culture

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brisbane gold coast tweed coast Issue 5, January 2012

www.rawinkmagazine.com

In this Issue: Hide’N’Seek Revealed!

Woodfordia Summafieldayze

THE RAW INK TEAM

Roxy Coppen

Graphic designer and editor. roxy@rawinkmagazine.com www.monkeywingdesigns.com

Ruth Dunn

Journalist. ruth@rawinkmagazine.com

Liana Turner

Journalist and photographer. liana@rawinkmagazine.com onlyverisimilitude.blogspot.com

Cover photography by

Liana Turner Welcoming in the first sunrise for the new year at Woodfordia.

Hello there!

Happy New Year, guys! We hope you had a happy and safe celebration.

We’ve done some first for Raw Ink in this issue - and we’re very excited to have attended not one, but two music festivals this month! We’re also excited to be starting Ruth’s new project, ‘Hide’n’Seek’. We hope you enjoy the photos and articles.

Once again, if you know of any creative events happening in your local area, or would like to contribute to the magazine, feel free to send us an email to: roxy@rawinkmagazine.com Don’t forget to like us on Facebook and follow us on our Twitter-tweets.

We’ll see you next month.

From,

The Raw Ink Team xx www.rawinkmagazine.com www.facebook.com/rawinkmagazine.com www.twitter.com/rawinkmagazine.om

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contents To Screen: Graphic 6 ‘Drawn Novels, Comics & Serials’ Ruth Dunn Corner with 10 ‘Chit-Chat Amanda Slack-Smith’ Ruth Dunn

Amelia’ 14 ‘Liana Turner

22 ‘Hide’N’Seek’ Ruth Dunn 28 ‘Woodfordia’ Liana Turner for Life’ 44 ‘Lust Ruth Dunn

46 ‘Summafieldayze’ Roxy Coppen, Liana Turner, Lucy Maloney & Rebekah Dunn

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Watchmen 2009 / Director: Zack Snyder / Image courtesy: Paramount Pictures

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As a child one of the magical powers that got into my top ten wish list was to have the ability to draw a picture that came to life. World domination one pencil stroke at a time was the plan. For some this wish came true, and Drawn to Screen: Graphic Novels, Comics and Serials, now at the Gallery of Modern Art, bears testimony to this.

Drawn to Screen: Graphic Novels, Comics and Serials presents over 60 animated films adapted from drawn narratives. The films cover 90 years of comic culture’s influence on the moving image, and explore the impact of comics on personal and cultural expectations.

The program is showing early works such as Dreams of the Rarebit Fiend dating back to 1921, and more recent works such as Watchmen (2009).

Tony Ellwood, Director of Queensland Art Gallery, said ‘The adaptation of comic books, serial strips and manga into animated and liveaction film will be examined in several thematic strands.’ Some of these themes include ‘God’s

and Monsters’, ‘Guilty Pleasures’, and ‘Rebels and Outcasts’.

For those who want to delve deeper and become one with the movies, get in touch with their inner superhero, or just have some fun, GoMA will also host a Cosplay event on January 26th as part of the program. This event will celebrate the art of ‘costume play’ and give people the chance to transform themselves into their favourite character from page or screen, strut their stuff on the runway, and win prizes.

A series of documentaries about the visionary creators of some of the greatest work in comics will also feature, giving a further insight into the program.

With such a large variety of films there’s an opportunity for everyone to lock and load their thick-rimmed glasses and check it out.

Whether you’re a Sailor Moon fan or a die hard Sin City fan, you can live together in harmony, exploring the crossover between the drawn narrative and moving image.

Oldboy 2003 / Director: Park Chan-Wook / Image courtesy: Rialto Entertainment

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Gainsbourg: A Heroic Life 2010 / Director: Joann Sfar / Image courtesy: Hopscotch Films

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The Extraordinary Adventures of Adèle Blanc-Sec 2010 / Director: Luc Besson / Image courtesy: Roadshow Entertainment

Amanda Slack-Smith is the assistant curator of the Queensland Art Gallery Australian Cinémathèque. She curated Drawn To Screen: Graphic Novels, Comics and Serials currently at the Gallery of Modern Art. Describe the experience of curating such a large collection of moviesThe adaptation of graphic novels, comics and serial date back to the beginning of cinema with the first adaptation believed to be the 1867 British comic strip Ally Sloper which was adapted to film in 1898 by director George Albert Smith. The next was in France with the 1922 animated adaptation of Rodolphe Topffer’s 1827 comic strip Histoire de M. Vieux Bois directed by Cavé and Robert Collard. When you consider that we are talking 100 years of cinema history from around the world it can be quite daunting to curate such a large program.

This said certain trends emerge when you look at these films together and from this the eight

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thematic strands in the program were formed to give a cohesive exploration into the world of drawn narrative adaptations to screen.

Why was this program chosen as part of GoMA’s 5th anniversary?

While not screening in conjunction with the current Matisse: Drawn to Life exhibition at the Gallery of Modern Art – we have a number of documentaries profiling the life and work of Henri Matisse screening throughout the exhibition period - exploring the concept of drawing and drawn narrative in cinema was very appealing. When you first start to look at these connections the obvious link is animation, however, when you look more closely at the source material for a number of these works you find that they are adaptations of comics and comic strips. The adaptation of Graphic Novels, comics and serials has seen a revival in Hollywood over the last ten years as

CGI technology has advanced enough to successfully capture the vision of comic creators so it is timely to have a discussion about this genre in cinema.

What was the process behind choosing movies for the program?

The research for the program was collated from books and articles by academics and industry professionals, the films themselves and the original source material.

How long did the program take to develop?

The program has been in process for over twelve months.

Why did you choose Sin City and The Crow for the opening night?

Both films have been highly influential to both comics and cinema. From a comic book per-

spective both encapsulate our fascination with vigilantism and its single-minded focus towards justice delivered outside of the law. It is a theme that has become prevalent in comics over the last twenty-five years or so and is reflective of a societal shift away from the representations of superheroes pre-1970. Both films are also excellent examples of successful adaptations of comics to screen of both the content and spirit of the original comic. The Crow was a collaborative effort between Australian director Alex Proyas and lead actor Brandon Lee. Lee in particular was known to have argued passionately against elements he felt were not in keeping with the original source material.

The result was one of the best adaptations of a comic for its time. Sin City director Robert Rodrigues worked closely with comic creator Frank Miller to realise Miller’s noir-classic to screen, a collaboration which saw Miller given equal directorial credit. Sin City was hailed for

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its visual stylisation which reflected the stark black and white (with some colour) line of the original comic without the self-aware parody seen in other comic book adaptations.

What are some of the main things you want people to take away from Drawn To Screen: Graphic Novels, Comics and Serials?

Comic books and their adaptation to film are often perceived to be a North American invention focused solely towards superheroes. While touching on this recent phenomena seen in Hollywood in the Gods and Monsters strand, this program also highlights the rich diversity of themes explored by comic creators from eighteen different countries from around the world.

For comic-book lovers familiar with many of the North American titles it is an opportunity to revisit old favorites and to discover new titles, for non-comic book readers it offers an introduction into a rich and diverse genre presented in both animation and live action films.

How do comic genres and themes challenge personal and cultural expectations?

While the main source of comic book film adaptations seen in commercial cinemas are focused towards superhero adaptations, there are many films adapted from non-superhero drawn narratives. Animations such as Marjane Satrapi Persepolis 2007 and Joann Sfar’s The Rabbi’s Cat 2011 explore issues surrounding religion, cultural displacement and persecution. Titles such as Alan Moore’s V for Vendetta 2006 (directed by James McTeigue) and Raymond Briggs, When the Wind Blows 1986 (directed

by Jimmy Murakam) offer commentary on the political structure of the times - V for Vendetta a scathing response to the Thatcher Government in the United Kingdom and When the Wind Blows a chilling look at the fear engendered during the Cold War. Other films in the program simply question life. American Splendor 2003 directed by Shari Springer Berman and Robert Pulcini is an autobiographical recounting by working-class everyman Harvey Pekar. Joann Sfar’s Gainsbourg: A Heroic Life 2010 is part biographical portrait and part subversive fantasy of the life of famous French

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singer Serge Ganisbourg. Charles E Bastien and Sean V Jeffert’s Pelswick: Inherit the Wheeled 2002, based on the original comic by quadriplegic artist creator John Callahan, looks at the discrimination shown towards those with special needs. S.P.I.C.: The Storyboard of My Life 2004, while not originally a comic book, is an illustrated biographical recount of a Dominican Republic immigrant growing up in a predominantly white neighbourhood of Massachusetts.

For more information about Drawn To Screen: Graphic Novels, Comics and Serials check out http://qag.qld.gov. au/cinematheque/current/drawn_to_ screen

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Jugglers The big event to kick the year off on February 3 will be the 50/50 Jugglers Art Space Inc fund raiser show with more than 55 artists with all works commencing at $50 base price as part of the silent auction.

Created, curated and organised by Yannick Blattner, Jaclyn Bates, Clinton Cunningham and Charmaine Malpago, it will be the gig to be at where you can get a piece of the art action to hang on your wall and support our court programs and general sponsored arts events.

All artists are participating by invitation only and all works are 50x50cm or smaller.

Address: 103 Brunswick Street Fortitude Valley Brisbane QLD 4006 Phone: +61 7 32 522 552 Email: info@jugglers.org.au Web: www.jugglers.org.au

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Amelia

BY LIANA TURNER

In the creative industries, “Jack of all trades” and “master of none” seem to be synonymous for the most part. This saying could not, however, be further from the truth for local supertalent Amelia Espley.

The qualified makeup artist and face behind Amelia’s Aesthetic Makeup Artistry, Espley describes herself as a “very creative and diverse person”.

“I endeavour to bring creativity into every aspect of life,” says Espley, “I love music and everything about the live entertainment industry.” Since completing her Diploma of Makeup Artistry in 2009, the artform has become Amelia’s primary creative outlet.

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Whilst the entertainment industry is an obvious port of call, suggesting Amelia’s work confines her in any way couldn’t be further from the truth.

“I enjoy working collaboratively on ideas for photo shoots,” she says, “or seeing the smile on a bride’s face after enhancing her natural beauty, making that special day or event even more beautiful.”

Aside from her strikingly talented makeup work, Amelia is a qualified lighting and sound technician, currently in her final trimester of the Bachelor of Audio Production at SAE in Byron Bay and is in the process of putting together final creative piece.

“This project will become an artistic installation, recorded and reproduced in surround sound consisting of only percussion instruments,” says Amelia, who will be inviting the general public to experience her project. “It is something quite unique and certainly one-of-a-kind, to be shown through January 2012.” Having worked in a wide range of live entertainment situations across NSW and QLD, from festivals and competitions to school productions, Espley is a great talent in her own right throughout the entertainment industry. “I have worked beside artists such as Potbelleez, Ricky-Lee, Seauny B, Pete Murray and Kate Miller-Heidke,” says Espley, “Just to name a small few.”

Deeply inspired by entertainers, most notably Imogen Heap, Amelia also has experience as a pianist, drummer and vocalist.

Alas, the creative spirit doesn’t

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end there. Espley has also taken to photography, with the encouragement of a close friend.

“I love seeing the world through a lens and capturing special moments,” says Espley, “I have enjoyed working with a macro lens finding a different point of view of the world.” Amelia has also had the opportunity to photograph a series for modelling portfolios; she aims to continually learn and expand on her knowledge in the photographic area, quite aware of the interminable stream of learning which is required.

Jewellery-making, another of her hobbies, even further widens the horizons of Amelia’s immensely creative abilities. “I am looking to expand my range, resulting in an elegant and quirky designs for necklaces, bracelets, along with some sweet little odds and ends. I use unique beads and pearls from across the world to bring an eclectic and original feel to each piece.”

Amelia’s final project, a surround sound percussion installation, will be on display at SAE, Ewingsdale Road Byron Bay, Wednesday 18th January from 7:00 to 8:00pm. www.facebook.com/ AmeliasAestheticDesignsand Productions/

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Hide ‘n ‘ Seek Project The question of whether graffiti is art or vandalism has been done to death. While it provokes interesting discussion, it’s a question of mindset and taste, and the tension between supporters of graffiti art and those who condemn it won’t be solved in the near future. Perhaps a better way to spend time is to look at the forms, meaning, skill, and varying styles of graffiti art, its interaction with the environment around it and the experiences of graffiti artists. This is what Hide ‘n’ Seek Project is all about.

Hide ‘n’ Seek Project is a one year writing project that will include articles about Brisbane street and graffiti art, as well as interviews with some of Brisbane’s best graffiti and street artists, and photographs of local art found on the streets of Brisbane. New material will be published each month exploring the Brisbane street scene and the artists that work within it.

Hide ‘n’ Seek Project will Begin in February, so keep your eyes peeled…

Ruth

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BY LIANA TURNER

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Indie-rock four-piece out of Tropical North Queensland, The Medics, have recently been regarded as one of the most exciting emerging bands in Australia. With three exhilarating sets at Woodford Folk Festival, they’ve undoubtedly been living up to this reputation.

Liana Turner caught up with drummer and vocalist Jhindu Lawrie and bassist Charles Thomas backstage after their final show for the festival. “We played two years ago when we were living in Cairns; playing Woodford was exciting because it was sort of “the big smoke” to us. It went well, but not as well as this time around,” they said.

In 2010, the release of the band’s debut EP, This Boat We Call Love, propelled them into an unpredictable journey into the limelight, with such festivals as Peats Ridge, BIGSOUND live and Groovin’ the Moo also under their belts. “The whole broad spectrum of music is a really big influence,” says Thomas, “We’ve all grown up with different things; I’ve grown up with reggae, roots, rock, everything, metal, everything you could name. All of the other boys are the same. We all like our own bands, and then we all like bands like “At the drive in” together, I think we all dig that… Mars Volta,

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Sigur Rόs, that kind of vibe. Jhindu grew up with the reggae/folk sort of setup, Kahl was exposed to the same sort of stuff, and Andy grew up going to church, with a whole lot of church music, and then I grew up with Celine Dion, because my mum was into that sort of stuff. We’re really open to listening to whatever; we go through stages where we’ll listen to metal, we’ll listen to dub, rock, whatever.

There was a stage when we were all listening to hardcore, and that was evident in our music, because we’d have breakdowns and that sort of thing.”

Whilst earning plentiful airplay nationwide, The Medics established themselves in Cairns, Queensland. Their humble beginnings can almost be seen as a vast contrast to the band’s continuing superfluity of success. “Well, it’s a long story,” says Lawrie, “Kahl the lead singer is my cousin; he was in the year above me in high school. When we all started out, Kahl was in year 11, I was in year 10, Charles was in year 11 as well. Kahl wanted to get a band together, and he got our past keyboard player on board, then asked Charles if he could play bass.”

THE MEDICS

“Even though I didn’t know how to play bass, or any musical instrument,” says Thomas, “I was just good friends with the guys,” he laughs, “During practice they used to show me where to put my fingers and I just had to remember that…didn’t know any chords.”

“Then Kahl asked me if I could drum for the band,” says Lawrie, “I’m usually a guitar player but at the time I was just keen to play anything…and then we got Andy on board because Charles knew Andy.”

“We started off as a four-piece,” says Thomas, “Keyboard, acoustic guitar, drums and bass, but the sound we were developing started off sounding like The Frey and Eskimo Joe and stuff, but we started to evolve after listening to influences like At The Drive In, Sigur Rόs and that sort of thing, and we just really needed an electric guitar to back up our tunes, so we needed Andy because he had all the good gear, and he was just straight in.”

Lawrie added an extra layer of significance to his life in 2011. “Today is New Year’s Eve,” he says, “And I’ve gone the whole year without drinking, which is pretty nuts. Andy and I had a close friend who took his own life while under the influence, which sort of shook me up and because I was turning 21, I just wanted to prove to myself that I could go the whole year without drinking. There’s too many idiots out there, and I just want to beat drinking for the year. It just feels good, because I’ve got about three hours, and then I’ve beat it. So just for people out there, if I can do it, you guys can do it too.”

“Woodford is just something special in itself I think,” says Thomas, “ You can probably ask anyone walking around in the festival – it’s just an incredible festival in that it brings culture, music, everyone together, and just brings a good vibe.”

At the end of the day, behind all their musical pre-eminence, the boys are in fact simply human. Quintessential of so many beautiful moments to be witnessed at Woodfordia,

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TINPAN ORANGE

Melbourne band TinPan Orange set the scene at Woodford, with a generous handful of shows, all of which were exemplary of the boundless freedom and passionate spirit of Woodfordia. “We’re touring new songs from an album that we’re going to release next Spring,” says frontwoman Emily Lubitz, “But we have our old album with us, which is two years old.” Starting out as a brother-sister duo, TinPan Orange has come a long way of late.

“Me and Jesse, my brother, wrote songs and played together from when we were teenagers,” says Lubitz, “Then we met Alex, our violin and mandolin player, at Woodford. He was camped next to us. He was from Melbourne, so we started playing with him. Then a few years ago my husband, Harry, joined the band. He produced the last album. Then we found Danny, the drummer, and somehow all powers combined and we just became a band.”

The band, who have over recent years enjoyed bountiful airtime, have played Woodford Folk Festival three times before, and are glad to be back. “It feels amazing!” says Lubitz, “It’s a really unique festival I think; I really like that it’s so diverse in the people who come here and the music that’s played, that’s somehow refreshing. It’s very different.

“I guess at a festival the crowd isn’t solely yours. When you play your own show, they’re just there to see you, and in a way that’s easier because they’re familiar with your work, but also there’s a bit more pressure because they’ve paid to see you and they have certain expectations, so at a festival it’s all fresh, so you just play and whatever happens happens – it’s more spontaneous, it feels somehow like you don’t know what’s going to happen.”

With such a large-scale festival, it’s difficult to pinpoint the exact highlights, but the band seem intent on regarding the audience as their high point. “The crowds are just so beautiful!” says Lubitz, “They’re real music lovers, but they’re happy to get loose and dance.

They’re perfect, and they laugh at my jokes!”

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STICKY FINGE

Sydney’s own Indie-pop band Sticky Fingers celebrated their second appearance at Woodford Folk Festival, after their debut appearance at the 2010/11 festival. Scoring a total of six shows at this year’s festival, the five-piece was thrilled to be back. “We sort of took off and got out of the joint for a bit,” they say, “We did a show in Brisbane last night, in West End at a place called The Joynt, now we’re back to do another three.”

The band have been touring nationwide of late, while their image within the music industry is being continually heightened. “We’ve toured a lot more this year than last year,” says frontman Dylan, “We’ve been to Perth four times, we’ve been to Adelaide, Melbourne, even Tasmania. We were doing a lot of touring last year but that was sort of up and down the coast in the Torago. This year we’re doing a lot of flights and stuff, so we’re feeling a little bit classier, even though it’s been on Jetstar,” he laughs.

Despite the unmistakable thrill of headline tours, the band find there’s something essentially unique about performing at large festivals such as Woodford. “It’s way better, because there’s a big hectic vibe,” says Dylan, “Everyone’s here to listen to music – If you play at a pub you get about half the people listening to you, the other half are just drinking or playing the pokies or whatever. But everyone’s here to rock out and have a good time. There’s a bigger sound system as well, and just so many good times...we get to go and check out lots of other bands as well, and mingle with them backstage – and well, there’s ladies everywhere!,” he laughs, “It’s

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been cool even walking around during the day, when we’re checking stuff out, we’ve noticed a massive difference in people recognising us and wanting to talk to us about our music. That feels really nice.

“If you’re going to speak specifically about Woodford as a festival, it’s the fact that you don’t just have one slot, because often you’ll play a slot at a festival and come of being a bit unsure. With this, you have so many opportunities to mix it up, and with a band like us where we have a bit of flexibility in our sound it’s good; one night we can do a full rock set, then do a chilled one and then a full dub-reggae set. Last year we only really had one set; we have a lot more songs this year, so we don’t have to be paranoid anymore about people getting bored with us playing the same stuff over and over again – which we pretty much were,” he laughs.

As is recognisable in their music – described on their website as a “seductive mash of genres”, Sticky Fingers draw influences from a plethora of vastly different sources, such as Clash and Pink Floyd as well as old-school reggae. “The best thing is that we all like different music, so when you put our music together and you get this weird love-child of reggaerock,” says Dylan. Referring to themselves as “a force to be reckoned with”, the band’s live performances are energy-packed, and their textural soundscapes are dripping with attitude. Having supported the likes of Children Collide, Amy Meredith, Art Vs Science and Kingtide, Sticky Fingers are undoubtedly on the rise and set to succeed.

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Here is the illuminated end result of the “People’s Puzzle Procession”. Each night a lantern parade travelled through the festival village and towards the amphitheatre, after which a piece was revealed on the “people’s puzzle” lantern. This continued nightly until the farewell ceremony on the final night. The last piece to be revealed was the central heart - perhaps the most integral piece of the puzzle, which was essentially a metaphor for the harmonious future of humanity. .

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Lust for Life RUTH DUNN To make an idea a reality, more often than not there has to be a passion that drives it. For Aureole, owner and tattooist at Lust For Life, her passion is tattooing, art and life.

Lust For Life brought it’s smooth blend of art, coffee and other quirky bits ‘n’ pieces to Fortitude Valley in November 2011. Within its curious walls you find a tattoo parlour, art gallery, and espresso bar combined to create a welcoming and relaxing environment. It also stocks books, clothing and various quirky bits ‘n’ pieces.

Aureole sees tattooing as intrinsically linked to art and life. She says ‘the obvious thing to do was bring stuff I love together under one roof and live and breathe it everyday’.

The hybrid nature of Lust For Life allows a broader public to get in touch with a different atmosphere, as well as providing refreshments and food for tattoo customers.

The gallery features a different artist each month, with growing interest from contemporary artists. It hosts a

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variety of exhibitions, offering artists an opportunity to showcase their talents and take part in Brisbane’s artistic culture.

The current exhibition is by Brisbane artist Brandon Specht. His paintings consist of forms and textures evocative of landscapes and turbulent, flowing atmospheres. These forms are created through an intriguing method of mixing enamel, acrylic and water-based paints on a canvas at different intervals in the drying process.

There is nothing quite like sipping a coffee, whilst contemplating an artwork, with the hum of a tattoo needle working the blank canvas of an arm or stomach. The mingling of tattoo parlour and art gallery creates an interesting space to not only contemplate the exhibitions, but also the art of tattooing.

There are some exciting new ideas burgeoning in the Brisbane arts scene and this is definitely one of them.

Article layout design by Rebekah Dunn

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summafie summafi The 2012 Gold Coast Summafieldayze event was off to a firey start on the 2nd this month at Jennings Park. Just under 35 thousand punters gathered to enjoy an extensive list of acts featuring the likes of Snoop Dogg, Pendulum and Scissor Sisters. The annual event, now over 10 years old, was also held in Melbourne, Perth and Adelaide and is said to have been bigger than ever before. With such a huge festival, it was impossible to make it to every act, but here are some great acts we enjoyed.

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eldayze fieldayze WRITTEN BY liana turner + roxy coppen PHOTOS BY lucy maloney + roxy coppen WITH SPECIAL THANKS TO rebekah dunn

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Along with Lucy and Rebekah, we first endeavored out to the Indigo tent to listen to the likes of Spank Rock, an American Hip Hop group from Baltimore, Maryland. An energetic audience responded enthusiastically to their upbeat performance.

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We then moved onto the Summa Stage for the energetic Stafford Brothers. The attractive Gold Coast based couple, who were returning to the Summafieldayze festival, DJ’ed out some hot tunes whilst thoroughly engaging with the pumped audience. They through beach balls to the crowd much to the delight of the joyous fans and came down from the stage during the performance.

Timmy Trumpet, who performed a few tracks with them, added a complex and compelling layer of sound to their performance.

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American DJ Grandmaster Flash - also known as GMF - rounded up the daytime performances at the Summa Stage with crowd pleasing mashups of Queen, Beyonce, Nirvana, Michael Jackson and many others.

His powerful onstage presence compelled the audience to get up and dance and instill a patriotic sense of pride and enthusiasm to the Gold Coast.

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Next up was the legendary Snoop Dogg who attracted what was arguably the best crowd of the festival. With anticipation mounting and the crowd chanting his name, everyone went wild as he stepped onto the stage.

A brilliant set, which featured songs such as “Drop It Like It’s Hot” and “Signs”, left festivalgoers talking about him all evening.

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Undoubtedly the highlight of the evening, Perth band Pendulum pulled off an aweinspiring performance accompanied with a spectacular light show. Their signature infusion of electronic music and heavy base reared up the crowd in a wave of exhilaration.

There was not one person who wasn’t dancing or enjoying the performance. After an noticeably strong level of anticipation throughout the entire day, they lived up to all their expectations. They performed tracks from the latest album ‘Immersion’ (which was nominated for Best Dance Release by the Aria awards) as well as some of their old songs and my personal favourite the ABC remix. The thoroughly enjoyable set let us, along with the other festivalgoers, leaving Jennings Park with an overall sense of satisfaction.

With such a good line up, it is only expected that Summafieldayze will get bigger and better. The lovely environment made the festival even more enjoyable and with so many entertaining acts it was hard to leave. We hope to be back next year!

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