Smiling, Alex returned to the secure fence of the Vines Stage. He’d been backstage meeting one of his adored bands, Bryon Bay’s own, Babe Rainbow. In the mosh-less pit, we’d stood right up the front for their mid-afternoon set and fittingly, the sun had spilled across the parklands for their summery psychedelia.

Inspired by Tame Impala, I loved their songs too and was pleased the bright, swirling music appealed to Alex. His day was already complete although we still had hours ahead of us. And here he was with his shirt signed and photos freshly pinged to his girlfriend Harriet, grinning like a shot fox.

*

An Auslan interpreter, my wife Claire’s working at Harvest Rock, and thanks to her around my neck I had a backstage pass. Walking from the car to the artists’ village I note each portable change room has a name on it by the plain door. Julia Jacklin, Baker Boy, Vera Blue.

I then pass a hunched, shuffling fellow wearing a beige jacket. He nods and I nod back. In the car preparing for the festival, I’d been playing his seminal album Odelay. On CD, of course. How else to return to the glorious, Gen X 90’s? A music icon and perhaps the ultimate Californian. Beck.

Later, I glimpse him alone at a table with a plate of chicken curry.

*

Across the brimming crowd I see Claire on the Auslan stage. American folk rock act The Lemon Twigs is finishing with melodies soaring and guitars blazing. Squeezing through the throng, two girls are pointing at Claire. She’s in black and signing in that remarkable language, expressing lyrics, melody and meaning. One girl says, ‘Isn’t she great?’ Her friend says, ‘Yeah, I love her.’ I smile; an anonymous figure with an undersized Greg Chappell hat atop his oversized head.

*

I’m back in the artist’s village and a big fella paces by. Built like a boxer, he’s familiar and I know his face. In the gathering twilight he gazes at his feet and then I remember him. Rockwiz. It’s Peter ‘Lucky’ Luscombe who drums in Paul Kelly’s band. He’s clenching the drumsticks that will usher in the second verse of Australia’s favourite seasonal song, ‘How to Make Gravy.’ We’ll all sing along to

I guess the brothers are driving down from Queensland

And Stella’s flying in from the coast

I love how the introduction of Luscombe’s drums and their magnificent energy echoes the family travelling home for Christmas. It also foreshadows the pending drama of their tale. I glance over again at his drumsticks, and these are enchanted. He disappears.

*

I’m up the back of the Harvest Stage. I peer up. Encircling us like ancient guardians, gum trees stretch and wave while above is the cityscape, newly impressive now, and emblematic of Adelaide finally being softly buoyant and sure of itself. Between sets, ‘Ego is Not a Dirty Word’ by Skyhooks surges over the blue sky, continuing the day’s uplifting nostalgia. It’s a Sunday BBQ song and my immersion into the world of the festival has arrived.

*

With the dark having risen up from the trampled grass there’s an earthy thrum. On the Vines Stage, Tash Sultana is coaxing all of her instruments to sultry life: guitar, drums, bass, saxophone, keyboard, flute. It all loops about and entangles us with aural warmth. Over on the Auslan stage and all in black among these compelling atmospherics, Claire is now backlit and silhouetted, still providing insight and accessibility.

I have yet another moment.

*

I’m at the back for Paul Kelly’s set and with my eldest son right by the front our generational handover resumes. Alex’s fifteen is more kaleidoscopic and whole-hearted than my fifteen was and this gladdens me. Heading home, I ask his thoughts on Australia’s most treasured minstrel, and he replies, ‘He was excellent.’ Steering down Anzac Highway I beam.

Massive in its fragility, ‘Deeper Water’ is an immaculate distillation of life. Hearing Paul Kelly’s finest composition always forces hot tears, and this festive lawn hosts the latest episode in my story of this song.

Already the unrelenting enthusiast, Alex pushes against the stage in this blue evening’s swiftly chilling air, and at this very moment our lives unfurl together in soaring splendor, and I hope all those optimistic signs I see in him are perfect predictors, and with this isolated, joyful city as a witness, my time tonight has again come too early and too, too late.

On a crowded beach in a distant time

At the height of summer, see a boy of five

At the water’s edge, so nimble and free

Jumping over the ripples, looking way out to sea