Over the weekend, I headed back to Dashville on Wonnarua Country for another slice of heaven, celebrating the 21st birthday of the little festival that somehow keeps getting better every year: The Gum Ball.
Thursday night came in hot, with what felt like the biggest pre-festival crowd ever, with about 700 keen beans ready to roll.
Norwood absolutely blindsided everyone in the best way, becoming the unexpected hero of the night. Emily Lubitz sprinkled her usual magic across the grounds, and Jordie Lane gave us a wonderfully grounded set full of favourites, long warm jams, and a couple of shiny new tunes.
By Friday midday, the remaining ~3000 campers descended, and the campground filled up fast. But even with all those bodies and tents squeezed together, the vibe stayed pure Dashville—everyone helping each other, everyone smiling, everyone just… good. It’s one of those “no one gets left behind” kind of places, and it shows.
I’ve been coming to Dashville since 2022, and honestly, this might be my favourite lineup yet. Jess and Magpie have this freakish ability to book a festival where you barely know half the acts going in, but you leave with a whole new playlist worth of obsessions.
Friday itself was stacked, too stacked to cover properly in one review, but I’ve got to shout out Joan & The Giants, Alter Boy, The Vasco Era, Christine Anu, and Kingswood for making the day feel borderline unreal.
But the undeniable electricity took centre stage in The Grateful Shed. This tiny micro venue tucked behind the arena has some sort of enchantment on it. Packed tight, sweaty, buzzing—exactly the kind of conditions that provoke those musical strikes of lightning.
Pinky Beecroft tore the roof off, backed by the insanely intuitive Chris Dale, Matt Taylor, and Liam Ferguson, joined by Dashville favourite Melody Pool, adding heavenly yet guttural backing vocals. These musos listen in a way that should honestly earn them awards. They’re selfless players, the kind who enhance whoever they’re playing with.
Meanwhile, as These New South Whales fired up on the main stage, a very excited crew hustled back into the shed for some adults-only entertainment. The nightly risque ritual has become the iconic nightcap of Gum Ball, thanks mainly to Viktoria Bitter and her Bedtime Stories—and Sophie Cook’s wild, brilliant, unhinged Tainted Burlesque absolutely delivered.
That show was pure chaos in the best possible way. I’m already planning my trip to see whatever madness they cook up next in Wollombi.
Saturday morning eased us in with poetry on the porch before William Alexander and some special guests led a beautiful ANZAC Day tribute on the main stage. The day didn’t let up from there with Bob Corbett & the Roo Grass Band, Holiday Mystics, and William Crighton all delivering sets that stopped people in their tracks.
As afternoon slipped into night, Vicky B rallied the campground for Op Shop Bop and Dashville Progress Society, following the sub-bass swamp of Sub-Tribe. The audience felt grounded, open, and ready for the epic return of King Stingray—their post-COVID Gum Ball set is still the stuff of legend, and this performance felt like a worthy sequel.
The night wrapped with a heaving silent disco and The Late Show, hosted by Viktoria Bitter, who marked 10 years of drag by revisiting her very first number. Cleo Rapture jumped in too, serving a slice of her show Piss Be With You.
Sunday morning rolled out beautifully with Chain Daisy, and the always delightful Young Gums showcase after a week of mentoring. Later standouts included Gleny Rae & the Country Ace Soul Band, the Dashville Community Records Showcase, Fähm, Burger Joint, and Meg Washington closing things out.
Now, I’m showered, rested, airing out my chilly bin and reliving the unequivocal magic of Gum Ball, which will be the only weekend-long festival Dashville will host this year, with Dashville Skyline taking a well-earned nap. If you’re craving more Dashville goodness, the heavier Thrashville is coming this June—so dust off your boots and don’t forget your earplugs!
