Australia somehow has a penchant for producing bands that create album after album off their own backs, tirelessly working independently and touring many miles to play shows in front of people that tend to come back time after time to witness their performances. The Waifs most certainly fall into this category, and it was clearly evident in the near capacity crowd at The Gov this evening. Many were keen to catch a glimpse of this Western Australian trio playing songs that marked a moment in their life, songs that meant something to the fabric of their being, and songs that have made the band an influential force in Australian independent roots music for many years. Yet, after this week’s entrance into the ARIA album charts at #3 with new LP 'Temptation', it is clear The Waifs still have the attention of the listening public with every new album they produce, with so many stories and observations still to be conveyed. However, they were almost upstaged by a brilliant opening set from someone very close to their traps.
Daniella Caruana, more famously known under her stage name Mama Kin, warmed the crowd up brilliantly, providing everything you could want to see in an opening set. Caruana, who works under the same independent label as The Waifs, never quite outperformed the headline act, yet put on a show that had many dancing and others in the mood for an enjoyable night ahead. Accompanied only by her brother Michael on keys and percussion and another member known only as George taking the limelight on the sticks, the sound that was released in this 45 minute opening could be described as nothing more than pulsating. It seemed like there were bass lines almost appearing out of thin air, with Mama Kin’s brand of piano-based swampy roots-rock becoming even more emotive in a live setting. Caruana also showed her witty sense of humour, aiming on numerous occasions to rouse the crowd still hovering around the bar, before eventually succumbing to the fact “they’ll never listen, will they?” She flails around the stage like a goddess on tracks like 'To My Table' and 'Whistle and a Light', then takes things down a notch on 'Tore My Heart Out' and 'Beat and Holler'. The latter provided an inducing singalong with the audience, who were at first mildly apprehensive but slowly gained their voice and lived up to Adelaide’s potential of being the most participatory fans, according to Caruana. Closing off on 'I’m Gonna Do It', Mama Kin easily proved she is not just living in the shadow of famous husband John Butler, but is a true all-round entertainer and will be around for many years to come.
After a short interval and some indifferent microphone testing techniques from one particular roadie, The Waifs arrived and kicked straight into gear with new tracks 'I Learn The Hard Way' and 'Buffalo', which went down well with the now fully attentive crowd. The highlight of the night for mine came in 'London Still', a song which represents a period of singer Donna Simpson’s life that so many regular people can now relate to. The sense of longing - not only in the lyrics but also the tempo and wailing guitar solos – throughout the track is a reference point for a great period in Australian acoustic music, when artists like Butler, Alex Lloyd and Sarah Blasko were beginning to create a brooding and authentic scene through lush production elements and an amazing sense of place and time. In a way this track could be a measuring stick for the band’s career, yet it needs to be put aside in order to fully appreciate the songwriting ability of this group.
Brilliantly accompanied by Ben Franz on bass and David Macdonald on drums, The Waifs have a beautiful onstage chemistry that extends through to their audience, who become thoroughly captivated as the set wears on. Falling was one of the highlights of the band’s newer material on show, with 'Moses and the Lamb' proving to be one of Simpson’s more favourable songs from 'Temptation'. The vocal of Vikki Thorn was another highlight of this extensive set, showcased beautifully on 'Sun Dirt Water', where Thorn was accompanied only by a barren bass line from Franz. Guitarist turned vocalist Josh Cunningham also provided a great moment in 'Temptation', a more laid-back affair that showed the band’s more country-esque leanings from their current long-player. Clear crowd favourites though came with the older tracks, as the band delved into their back catalogue with songs like 'Lighthouse', 'Fisherman’s Daughter', 'One Highway', and one of the band’s signature singles in 'Bridal Train'. As the setlist came to a close The Waifs remained on stage, not wanting to leave the great energy they had been provided with a by an audience completely in raptures all night. They finished with another early track in 'Gillian', and, after leaving the stage, they returned immediately for a two-song encore.
It almost felt fitting that The Waifs finished with 'Take It In'. The three founding member played acoustically the first track listed on their debut self-titled album, and was a very emotional ending to what was a journey through a magnificent career compiled into a blissful near 2-hour set. To take it in was to be appreciative of something special and live in the moment. The band continually made mention to their love affair with The Gov over the years, always making them feel at home with their wood-oven pizzas and fantastic bar service. But what they may not understand is how much at home their songs can make an audience feel, and how proud we all are of bands like The Waifs for creating songs that we can honestly relate with, a band that we can proudly call our own.
No comments:
Post a Comment