Gig Review: Alpine, City Riots, Jive, 9/7/2011

Having just packed out two shows at the Northcote Social Club in their home city of Melbourne, Alpine were on a mission to maintain the momentum of their 'Villages' tour on its Adelaide stopover at Jive. With the critical and broadcast success of debut EP Zurich well and truly in the bank, the 6-piece appear comfortable and content on keeping things intimate, although this show was a step-up from their previous appearance in this city at the much-smaller Ed Castle Hotel. The crowd was to dictate this point further, as a wide array of mums, indies and moshers converged on the venue in the hope of an enlightening performance on a consequently icy evening.

A small but enthusiastic congregation came together to witness locals City Riots put on their second major support slot in a matter of days at the same venue no less. Having been third in line for Papa Vs. Pretty’s Adelaide appearance two days earlier, and now opening for another touring act in Alpine, I would be expecting a headline slot in the coming days if the trend were to continue. Many in this city are beginning to warm to the local hopefuls, who continue to churn out tight performances each time they take the stage. The blend of deep synths with their unabashed rock sound make for pleasurable listening on older tracks, such as She Never Wants To Dance, and the newer beasts, which are beginning to sound like radio staples almost immediately. With new single In My Head gaining regular airtime and their touring juggernaut set to continue in support of Ball Park Music later this month, don’t expect City Riots to leave your radar anytime soon.

It certainly appeared as though Alpine have made an impact on Adelaide audiences as more people began to wander into Jive following their performance. Though by the time they’d hit the stage, the attendance was incomparable to the band’s Melbourne shows, demonstrating the fact that this city still perhaps neglects great talent in a live format on occasion. Opening energetically with Heartlove, Alpine instantaneously relieved themselves of any inhibitions and set about enjoying every moment of their time on a Jive stage made to seem tiny once filled with the band’s instruments and stage presence. That stage presence is dominated by vocalists Lou James and Phoebe Baker, who, when in full flight, are impossible not to become engaged with. Baker flies around the minimal space available in an ethereal manner, while James largely holds her position behind the microphone, content to rest on her delicate vocal range that, in tandem with her band-mate, really carves out the essence of Alpine’s uniqueness. Once the band rocks out, watching all members move around the stage is simply captivating, as they create music that you really feel rather simply hear.

Tracks from their debut EP Zurich were well represented this evening, with Too Safe possibly the most enjoyable of the lot with its slow and enthralling build-up. The level of crowd participation continued to grow as the band aired a number of as yet unreleased tracks that were well-received amongst the enthusiastic patrons. It is almost scary to think of the havoc that could be caused once the band begin putting together a full-length release after viewing some of its newer material on this occasion. Closer and notable single Villages demonstrates Alpine’s ability to make the simple sound completely grand; the song slowly creeps along courtesy of some 80s inspired synthetic rhythms and elegant harmonies, then suddenly rushes out in a wash of light keyboards, acoustic drumming and raw energy from all involved to create a real pop masterpiece. It is no surprise that the crowd did not want the show to end there. The band’s drummer leapt out and asked if the Adelaide audience wanted one more song, to which they requested and Alpine subsequently obliged. Though I did not catch the name of the song, their performance of an INXS cover slotted in well with the band’s sound and ensured everyone was left cheerful as they meandered into the realms of another Saturday night.

It’s not often in this setting a band can unravel folded arms and genuinely make people want to move to its music, yet Alpine succeeded in making sure everyone in their presence felt involved in what they were watching. The ability to make a crowd consider itself part of the overall experience is the best element of live music, and thankfully, we were witnesses to this tonight. Thank you Alpine, please adorn our fair city again sometime soon.

Take a look at the band's cinematic video for 'Villages' here:

Gig Review: Papa Vs. Pretty, Redcoats, Jive, 7/7/2011

As Thomas Rawle, lead singer of headliners Papa vs. Pretty, stated early on in the band’s set, the last time they played in Adelaide was in front of roughly 15 people, so obviously they were delighted to be playing to a Jive crowd that managed to fill the ground floor completely. Of course, this previous performance was prior to the 3-piece releasing their debut album, United In Isolation, subsequently having it featured on the public youth broadcaster, and gaining consistent airplay for rollicking tracks One Of The Animals and Honey. This kind of publicity is huge for a band who’s average age barely reaches beyond the 20 year mark, but it was clear on this Thursday evening that age is no barrier for this talented Sydney group.

Adelaide act City Riots appeared first this evening having been overseas to record their debut album which has been a long time coming for many. At this stage the crowd were still briskly wandering in, but the band managed to put on a professional performance nonetheless, certainly demonstrating their progression as a band in the last few years. I’m sure we can expect more from the group throughout the remainder of the year as the album is released.

Due to time constraints the now filled out Jive crowd were introduced to Melbourne act Redcoats, who immediately had everyone’s horns up. As the band were setting up, I must admit I was highly skeptical of what was to come. The guys look like an authentic 70s rock group; three of the lads sported long, flowing stoner-like locks, while lead singer Emilio Mercuri almost came across as a reincarnated version of Andrew Stockdale, pinned back afro and spearing eyes included. And as they came out to begin their set it was easy to hear the influences of these guys right from the start. Flourishes of Zeppelin, Hendrix, Kyuss, Floyd and Rage Against The Machine all shone through early on the band’s performance. It would be easy to forfeit the band’s credentials based on the fact they were reviving the sounds of their forefathers, but the overriding fact became that Redcoats are simply brilliant at what they do. For the majority of their near 40 minute set I simply zoned out, in a good way, Their style of music is completely mesmerizing, entrancing, and played with an undeniable level of skill to match. Their constant shift of time signatures is something to behold. Mercuri is a true frontman, while guitarist Neil Wilkinson and bassist Rhys Kelly wield their instruments as if they’d just been removed from a time machine that landed in the early 90s. Dreamshaker is a hit with most of the crowd, but it was the longer, more drawn-out songs that really showed the potential of Redcoats going forward. This was certainly a live experience worth witnessing again.

Papa vs. Pretty arrived soon after to kickstart their performance, which was unfortunately marred by numerous feedback issues early on. It seemed to rattle frontman Rawle and created a somewhat disengaging atmosphere at the beginning. However, as soon as the first chords of Heavy Harm strung out, the band seemed far more comfortable on the stage, with the initial sound problems seemingly devoid by this point. Heavy Harm is a great indicator of the band’s sound, as Rawle exquisitely finds his way around the guitar, while the rhythm section of Angus Gardner and Tom Myers allow the band’s music to flow up and down when necessary. At times the mix creates problems in hearing Rawle’s incredible vocals, yet when they do appear they are genuinely unforgettable, falling somewhere in between a rockabilly drawl and a Beatles-esque croon.

One Of The Animals received a huge reception from the crowd as was to be expected, while Wrecking Ball from the band’s Heavy Harm EP displayed a raw grit to the band’s sound. This was brilliantly contrasted by I Still Believe In Us, a far slower track from said EP that demonstrated Rawle’s immense ability with the 6-string, with lush harmonies provided by Myers from behind the sticks. Myers voice consistently enhanced the band’s sound on the night, and especially shone on latest single Honey. This was probably the most well-performed song on the evening; it showcased everything good about the 3-piece, while displaying a level of maturity and comfort on stage that is far beyond their years. The guys completed the set with an unnamed production which they only ever play live, and after a reluctant call from the crowd, returned for a two-song encore to end the night on a high.

Many can sometimes be fooled by broadcast radio these days, with recent countdowns demonstrating that accuracy in determining the best from the rest can sometimes succumb to a popularity contest. However, the recent publicity provided to Papa vs. Pretty was consolidated this evening at Jive; these guys are the real deal. Thomas Rawle is a talent to be reckoned with, and with an apparent 30 albums worth of unreleased material up his sleeve, we can only dream of what the band has to offer up next.

British India, City Riots, Galleon, The Gov, 26/6/2010

As formidable a touring act as British India are, I had never experienced their live show in full flight before, and my anticipation of a great night was certainly high. It seems like the band are never far from the Australian music radar. Whether they’re releasing a new album or touring the country from corner to corner, the past 4 years have been a constant musical journey for the Melbourne lads. This continuous cycle is what has made them so popular in the eyes of music lovers and critics alike, with their brand of garage rock garnering a massive fan base since their sudden rise to fame, while also allowing them to become indie-mainstays throughout the country. And judging by the turnout at the band’s second Adelaide show on this tour, it appeared that their third album, Avalanche, had well and truly kept the fans coming back for more.

It was great to see two rising Adelaide bands opening the night, and it definitely proved that this city is churning out some truly great acts. First up were the band formerly known as Foreshore, Galleon, who warmed up the crowd with their brand of anthemic rock. The band have recently been recording with members from former Melbourne act Motorace, and the similarities between the two bands were certainly evident on the night. Stand out tracks included In Stereo and current single Kamikaze, which has gained some Triple J airplay as the boys subtly alluded to. It was somewhat ironic that the band delivered a track name Nothing Really Happens, based around the supposed lack of talent coming out of the Adelaide music scene. It appears that, with a new album to be released soon, Galleon will certainly have things happening for them in the latter half of 2010.

Next up was 4-piece pop-punkers City Riots, who livened up the building crowd with a tight and professional set. The band have been a shining light to come out of Adelaide in the past few years, with travels to America and Europe certainly enhancing their live performance and ensuring the majority of the front row had their dancing shoes on. However, as energetic and tight as the show was, the band seemed relatively uninspiring at times and perhaps lacked any variation in their sound to keep the back of the room interested. Nonetheless, the band showed enough promise throughout the set to ensure they will continue to grow, closing the set with new single She Never Wants to Dance, Let’s hope that these two bands can continue to fly the flag for the Adelaide music scene in 2010.

The British India boys walked out to a rapturous reception, and as soon as the first bars of 90 Ways to Leave Your Lover were solidly belted out, I knew that this crowd was in for something special. Frontman Declan Melia opened the set wearing a hooded jumper as if it were a cape; fitting, as his voice can at times be somewhat super-human when at its most raw. Old favourites Tie Up My Hands and Run The Red Light soon followed, with the mosh pit slowly gaining a high level of intensity. The hits continued to roll out, with the band’s most recent single Avalanche certainly living up to its name, It is incredible to note how the raw British India sound that served them so well in their early days has still remained throughout their three releases, and considering the amount of bands looking to produce a sound like theirs, the band have stuck to their guns and continued pumping out catchy songs and appealing to their fans on a constant basis.

One exception to this statement is the first single to come from Avalanche, Vanilla, which is arguably the best song the boys have produced over the journey. The track ascends and descends with speed, allowing the crowd to both sing along in the slower parts and mosh to their heart’s content when the song reaches its heavier moments. Songs from the band’s second album, Thieves, were also on show, with God Is Dead (Meet The Kids), This Dance Is Loaded, and I Said I’m Sorry all delivered with absolute conviction. The latter showed how well Melia and fellow guitarist Nic Wilson worked together to establish the band’s heavy guitar sound, with both the lead and rhythmic elements considerably enhanced in a live format. And just when many though the night couldn’t get any better, British India produce a ravaging cover of the Beastie Boys track Fight For Your Right (To Party!), representing exactly what many crowd and band members alike were there to do. The set was finished with an ode to the older fans in Black and White Radio, and the set was well and truly complete.

It was a shame that many fans were seemingly let down by one member of the audience in the front row who managed to rattle the British India boys and was ultimately removed from the crowd, with this possibly being the reason why the band didn’t produce an encore. However, no encore was required. The boys had done their job, offering a solid performance and further stamping their claim as one of Australia’s premier live rock acts. It is a testament to the group’s hard work ethic that they have been so successful to date, and will ensure their stability in the Australian music scene for some time yet.