The last time Josh Pyke played in the White Bay Power Station, it was a different kind of play — as a curious young boy exploring a sprawling derelict building. His return decades later to headline the Power Up Festival was altogether different.
“When I was a kid I used to sneak in here,” he said. “There sure was a lot of asbestos.
“I remember the sound of trains, it used to bring people from all over.”
The ARIA award-winning artist, now 46, grew up in the White Bay neighbourhood, and his hit song Middle of the Hill even features references to the area.
So, his performance, which helped toward making a success of the inaugural and free three-day event last weekend, seemed a fitting inclusion.
White Bay Power Station has ushered in a new era as a cultural centre for the arts with Power Up.
The festival showcased the Inner West’s best talent as over 100 artists and 200 performers took to the stage, in celebration of the creativity of local talent. An estimated 180,000 visitors, most of them locals, poured through its industrial doors.
“[It’s] the best of the best. The best of the Inner West,” said Craig Donarski, the festival’s curator and manager of arts, culture and creative industries for the power station.
“We didn’t care if artists had the next big thing. For some it’s their first exhibition. It really represents cultural diversity.
“We wanted the most interesting mix- from printmaking to painting.”
The station, an icon of the neighborhood, is one of the last standing structures in Sydney with its distinct architecture.
It’s what happens when you deliberately throw in randomness and open it to the public.
Constructed from 1912-1917, it is one of Sydney’s most significant industrial landmarks. It initially powered Sydney’s tram and rail networks, playing a crucial role in the city’s growth. The station continued to expand significantly to meet demand for electricity and support various industrial operations, but was decommissioned in 1984.
Today, White Bay has been transformed into a vibrant cultural and community hub, and its massive space and vintage industrial vibe make it the perfect venue for events.
Preserving its historical significance while embracing new possibilities, the ongoing restoration honours both the site’s heritage and the Indigenous cultural heritage of the area.
These events are part of a broader initiative by the New South Wales government to revitalise the power station as a cultural hub. The festivals leverage the building’s industrial aesthetic, creating a unique space for music, visual arts, and community engagement.
The most recent, the Biennale of Sydney in March, transformed the historic building into a large-scale art venue, bringing together artists from around the world to showcase contemporary art installations, and fostering a dynamic intersection of heritage and modern creativity. That event, however, was ticketed.
Donarski described Power Up as Biennale Vol 2: a free event aimed for those who may have felt intimidated by high art.
The line-up, with over 250 installations, was curated to be a representation of the White Bay neighborhood, featuring classic parts of the Inner West-culture like the Glebe Art Society, as well as a glimpse into the future of its art scene with new art from local schools and performances by up and coming singer Jade Yee-Smith.
“It’s what happens when you deliberately throw in randomness and open it to the public,” said Donarski.
“It’s for people who may not understand it. The biggest purpose was getting people here who didn’t feel qualified for Biennale.
“Everyone can come here and find something they enjoy.”
Prodigal son Josh Pyke had a triumphant return. Photo: supplied.
Pyke’s performance, which blended nostalgia with acoustic charm, showcased a blend of his well-known hits and newer material: Make You Happy, Lighthouse Song, I Don’t Know, and Goodbye.
Known for his storytelling about place through music, the familiar setting of the venue added a raw, emotional depth to his set, with the crowd filled with phone lights swaying to the music.
But if Pyke’s performance embraced the Inner West’s cosy past, Yee-Smith’s was its fiery future.
A rising star in the White Bay neighborhood, her pop rock and 2000s-inspired act played on the heart strings of the older crowd, as well as pumping up the younger generation.
“I want to make music that makes people come out,” she said.
This was the 20-year-old‘s sixth show, after gaining popularity through her TikTok videos.
Other notable acts from the weekend included classical music from the Sydney Youth Orchestras — specifically the Peter Seymour Orchestra and Philharmonic Orchestra. Additionally, family-friendly workshops took place in the Turbine Hall, offering creative activities alongside musical performances.
Drummer man. Photo: Nova Flikweert Berger.
Donarski said the first step in the curation of the Power Up festival was to showcase the creativity of First Nations people.
“Before anything, I made sure they were included,” he said, adding his mission was to recognise White Bay as an Indigenous people’s space first.
In keeping with that, art from the First Nations gallery was the first thing visitors saw upon entry.
The 14th Greenway Art Prize was also part of the event. A collection of children’s art, the display highlighted the second goal of the festival, featuring new and upcoming talent in the Inner West as well as the importance of sustainability to the neighborhood.
The rest of the festival came together on its own accord. The government put out a POA, with the only rule that you had to be part of the neighbourhood, and got a ton of interest from studios and individuals alike. For some galleries it was their first group exhibition.
As for the future, Donarski said the festival is planning to head focus groups for future community programming.
Main image of Jade Yee-Smith by Nova Flikweert-Berger.
