Ability Fest was an invigoration of the senses. Not only since it’s the first festival after months in lockdown but it had presented an opportunity. An opportunity to celebrate two main parts of my life—an occupational therapist and a devoted music fiend. I have watched Ability Fest grow over the last few years. A festival brought to you by the local legend and tennis superstar, Dylan Alcott, he’s paired up with the masterminds behind festivals such as Beyond the Valley, For the Love, Grapevine Gathering and Pitch – Untitled Group.  

This year, they understood the assignment. Music goers wanted a festival for the people and by the people—to truly represent the diversity amongst all of us. As the country’s first and only fully inclusive, fully accessible music festival, I was pumped to see the first person greeting me was a wheelchair user. The festival wasn’t about tokenism or pandering to an accessibility mandate; it was designed for everyone to enjoy their day without any barriers. Full of volunteers, the entry beamed with guidance on where to go, how to find chill hill, and stocked with all the sunscreen you could ask for. Large white mats carved their way through the gardens to the dance stage, where a large d-floor lay surrounded by a bar (with bottled water available for free). There were blue bean bags splayed across the fresh green grass to sit back, relax and watch everyone roll in.  

Beyond the dance stage was the elevated platform, one of two facing onto the main “Marks Stage”. The elevated platforms were accessed via ramp and allowed perfect view of the day. The stage was wrapped with epic LED walls allowing a close-up of every artist from every angle, you could almost feel the sweat drip of the stage -  although the old-school style videography had me wondering if I was in an early 90s episode of rage!  

Aptly named, Rudely Interrupted was the first band of the day. Lead singer Rory introduced the first song, ‘Close my Eyes’, joking “it doesn’t matter if I close my eyes because I'm blind!”. The band -was consistent with what you expect for a festival opener—a good fun vibe to kick off the day. The cheerful atmosphere was amplified by one band member galloping around the stage with purple cape flying behind him. Ironically, the regular drummer was unable to play due to breaking his foot, leaving him too disabled to perform. While Rory couldn’t see, some at Ability Fest who couldn’t hear, but that didn’t stop them thanks to the AUSLAN interpreters for each act.  

One of the AUSLAN interpreters was Marnie. She said, “usually we are excluded from these sort of things”. When I asked if she thought this would become the new standard for music festivals she replied, “I hope so!”. Marnie was assisted by her team to sign throughout the day as she is also hearing impaired. It was incredible to watch them speak, sing and dance on the corner of the screen throughout the day.  

KYE followed up next and WOW!!!! This girl’s voice blew me away. She was smooth and had an incredible stage presence for someone who is relatively new on the scene. A full live backline supported KYE and her drummer brought a kick drum that was the standout. I swear this guy spent his entire lockdown practicing fills because his set was TIGHT. KYE’s best song was ‘Gold’, which was released with Sampa the Great. By the end of the set, I felt it should’ve been more like KYE the Great because I could not get enough.  

Nina Jirachi broke up the afternoon with an upbeat set. At this point in the day, the crowd had picked up and her dance vibes had a group bopping around in front of the stage. Amidst her set, the Melbourne music elite could be spotted mingling with the crowd. Triple J fans were able to meet Linda Mariano and Angus O’Lachlan as they interviewed ticketholders. The first festival back, Ability Fest was a beacon for musos; Mallrat could be spotted in the VIP section chatting to Confidence Man and Peking Duk while influencers shot selfies in bell bottoms and crop tops.  

Between sets, festival goers continued to pour in. It was amazing to see a multitude of wheelchair users, vision impaired and people with their companions. I was lucky enough to speak to Jye who praised the festival’s setup, which had improved on feedback from the previous venue, Coburg Velodrome. When asked what made it better, Jye said “the inclusiveness” and better access than earlier versions of the festival. As a wheelchair user, he said he could go to all areas in the festival and appreciated having so many of his friends there with him.  

The next main stage artist was a duo who absorbed my attention in lockdown. Lastlings teamed up with Untitled Group for the Virtual Day Party back in April 2020. The siblings crafted an online performance with massive appeal, clocking up 50,000 views on Youtube. Lead singer Amy wore a loose jacket in a classic style, looking right at home on the stage. Her energy was infectious—not sure if it was from ample rest in lockdown, diligent practice, or abundant enthusiasm for the stage but her voice was electrifying. Every note was clear and strong—a testament to the sound guys who hit the mark throughout the day.  

It was a surreal experience having bass radiate through my body again. It felt as if my organs were rattled back into the right position. It felt like I was home again. Lastlings finished their set with an extended rendition of my favourite “Deja Vu” and ‘False Reactions’.  

The crowd was well and truly pumping when Illy bounced onto stage. In his hometown and noting “I can see my house from here!” he was there to get the crowd into a hot, sweaty mess. After months of questioning what was happening in our lives, it seemed fitting to kick off his set by singing ‘Then what’. Live musicians accompanied Illy with a smile that beamed. Illy was not only celebrating his first major show back but was repping his demons jersey and having the "Last Laugh" after a 57-year drought between AFL premierships. His showmanship was undoubtedly best of the day; he had every last punter fixated. Hands were up, bodies were swaying and chanting “F*CK YOU!” to his iconic hit, ‘Swear Jar’. The cheek of the song was amplified by the AUSLAN interpreters signing broadcast on the main screens. We were lucky enough to hear a taste of Illy’s new album on his track ‘Like You’ which was exceptionally well-received before he finished strong with his platinum hit ‘Tightrope’.  

The act I had been itching to see was Confidence Man aka Conman aka Janet Planet and Sugar bones and in the worst kept music industry secret.....aka Jungle Giants! Confidence Man was the 2018 Live Pop act of the year for a good reason. There are outfit changes, smoke machines, backflips and champagne, but sadly, the LED bra appears to have been retired (at least for this show). As with Lastlings, I was blown away by the lead singer, Janet Planet’s voice. Maybe I was delirious at hearing live vocals, but I think it was one of the artists’ best festivals in terms of consistency.  

The final two sets of the day were a DJ Sets from What So Not and Peking Duk, however, they were not your run of the mill DJ sets. What So Not brought out Sydney Rapper, Phi11a and the iconic vocals of Lucy Lucy. Meanwhile, Peking Duk was joined by vocalist Michaela Baranov (MICCI) with a fireworks show that had sparked a similar sensation to New Years. Ability Festival celebrated the end of lockdown and the start of a new chapter in Melbourne, with Dylan Alcott joining on stage for the end-of-night bonanza.  

Overall, I commend Ability Fest, Untitled Group and the man behind all of it, Dylan Alcott for a inspiring day. It was one of the most consciously designed festivals I have been to. It felt safe and more than anything was truly accessible. Ability Fest was my first festival at Alexandra Gardens and I hope to see more festivals bloom within the area. It was expansive without being overwhelming and a short walk across from Flinders Street. The cityscape in the background gave familiar atmosphere to what you feel at Sidney Myer Music Bowl, which also happens to be one of my favourite venues in Melbourne. Keep an eye out for the next Ability Fest as it’s only going to get bigger and better from here! 

Review editor: Hanna Begic