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.

The Harry James Angus Band, Jive, 12/3/2011

Everyone is familiar with the work of Harry Angus as the trumpet player and vocalist of Australian collective The Cat Empire and Jackson Jackson, but I’m sure those attending this gig had no idea how things were going to pan out at this special show as part of the Adelaide Fringe Festival. The description given in the official festival guide proclaimed that Angus and his band would be performing songs from the post-war era, with elements of nostalgia and reminiscence for those of older generations. Yet the majority of the crowd this evening appeared under 30, which goes to prove the power that members of The Cat Empire have over their adoring fans, considering they have only been around for just on 10 years.

It is fair to say Jive was the perfect venue for this performance, with the theatre style stage evoking images of the movie 'Ray', where Mr. Charles himself was depicted playing tunes to dim-lit bars in front of many swingers looking for a good time. This affair however was far more laid-back, with many choosing to sit down and soak up the immense ability of Angus and his band. There was a minimal amount of fanfare upon the band’s entrance, with a subdued Angus introducing the first track 'Shake Me or Break Me'. This subtlety would continue throughout the set, as the trumpeter opts largely to let the music take over.

The tracks on show this evening were very much in the style of vaudevillian swing, with a twee-like harmonious jazz element. Songs like 'Just A Closer Walk With The' and 'I Thought About You' all involved harmonies between band members, almost in a barber-shop fashion made popular throughout the 50s and 60s. Angus’ voice is absolutely sublime, and in this setting, has a far deeper timbre than his work in The Cat Empire; the vocalist has the ability to hit notes that many wouldn’t dare attempt, all the while keeping control of each note as the brilliant 5-piece backing band picked up the pieces. Consisting of saxophone, trombone, Hammond organ, double bass and drums, the accomplished band was a real standout of the evening. Of particular note was the saxophonist’s ability to really enhance the authentic swing sound that the band had re-created, and even singing on 'Just A Gigolo', which also featured the beautiful harmonies mentioned previously.

A few of the band’s favourite tracks were also thrown in for good measure, with Angus introducing 'Stardust' as possibly the greatest song ever made, while 'Drybones', now more familiar as a children’s sing-a-long, was performed succinctly with the movements to match. Finishing with 'Murder', a track that evoked some sort of Hitchcock thriller, the band left the stage with a rapturous reception, and returned to the crowd’s delight with one more track in 'Shanghai Honeymoon'. After a 90 minute set of classic tunes and great stories, it was hard to know where the time had disappeared to at the show’s conclusion. For the majority, this performance was most likely an education both in the history of this classic style of music and also the ability of Harry Angus as a genuine all-round performer. His musical appreciation is far and wide, and it is clear he has more tricks up his sleeve than just his other party-starting band. Through all this he still knows how to make people have a good time, and this was certainly evident at Jive this evening.

• As a sidenote, The Cat Empire play 3 Adelaide shows as a part of their 10th anniversary tour this April. The shows at the Crown & Sceptre Hotel on the 28th and Jive on the 29th are completely sold out, however tickets are still available for their performance at the Thebarton Theatre on the 30th of April.

The Seabellies, The Cairos, Glass Towers, Jive, 6/3/2011

I’ve always thought of The Seabellies as Australia’s answer to Arcade Fire on a much smaller scale. The band possesses a great penchant for punching out tracks that are on a massive scope; somewhat cinematic in nature if that is possible. As a 6-piece, this Novocastrian group makes the most of their size by implementing any instrument they can get their hands on in a live format, every part sharing an equally important piece of the overall sound. And they certainly did well to make their Jive performance a success, despite the venue’s small stage area.

A slow-building crowd witnessed sets firstly from two promising young interstate bands in Glass Towers and The Cairos. Both bands hold a far greater rock edge than their headlining counterpart, with raw and uncompromising live shows that demonstrated a lot of promise and future potential for the two. With an average age of only 18, Byron Bay’s Glass Towers take a more conventional indie-rock direction with their songwriting, and have enough licks on display through each track to keep the listener entertained. Meanwhile, Brisbane 4-piece The Cairos displayed an element of youthful grit that proved they are certainly going places in the near future. Lead vocalist Alistair Richardson screamed his lungs out in many tracks, perhaps reminiscent of Children Collide singer Johnny Mackay. The band played tracks mostly from their freely downloadable EP 'Summer Catalogue', with set closer 'Listening Party' a particular highlight as the crowd began to feel their way into the evening.

Beginning their set with 'Orange X', The Seabellies immediately had everyone’s full attention, displaying all the elements of their music that make the soundscapes on debut album 'By Limbo Lake' so rich and fulfilling. Each instrument had their time in the sun when necessary, with no one particularly over-powering another at any stage. The band’s sound is probably best summated on lead singles 'Young Cubs' and 'Trans Ending'. The former is exuberant and carefree, and the band is exactly that on stage throughout the track, with guitarist Kyle Grenell perfectly recreating the ever-so-catchy lick that accompanies 'Young Cubs'. 'Trans Ending' shows The Seabellies’ aforementioned instrumental talent, as vocalist Trent Grenell and stickman Sean Kelleher swap positions as Kelleher takes front spot with a joyous trumpet performance that underpins the grandiose nature of the track. The band interspersed their well-known pieces with some newer material, which overall sounded like an extension of 'By Limbo Lake' with a slightly more mellow twist perhaps. Needless to say these songs sounded great, and all bodes well for fans of the band with a nice sophomore release seemingly ensuing in the not-too-distant future.

Older track 'Armour' and current single 'Board The Apartment Up' provided two more enjoyable moments for the enthusiastic patrons, with the latter showing off the flawless harmonies between lead vocalist Grenell, keyboardist Steph Setz and bassist Eddie Garven that make it a bona-fide hit on Australian radio at present. It was fantastic to see the band perform album track 'Paper Flames', one of the most mature-sounding songs on 'By Limbo Lake'. For those unacquainted, this song is so reminiscent of an Australian sound, if such a thing exists, and without trying to provide too many comparisons evokes the same form of lyrical articulacy as great bands like The Go-Betweens and The Panics. The night is then finished off with the cinematic album opener 'Ices (Death & Love)', leaving everyone with a great lasting impression of their Adelaide stopover. This is a band well and truly hitting their straps and it seems with every tour they continue to gain a new band of followers cottoning on to the immense talent this band holds. Their next visit, which, according to the band, will occur in the next month or so, is certainly not to be missed.

Boy & Bear, Oh Ye Denver Birds, The Chemist, Jive, 4/6/2010

A cold winter’s night greeted Adelaide’s live music-goers keen to catch Sydney band Boy & Bear on their first official headline tour of Australia in support of their debut EP ‘With Emperor Antarctica’. The sold-out sign adorning Jive’s frontage says just how quickly this five-piece have snuck up on the Australian music scene, with previous tours supporting bands like Laura Marling, Angus & Julia Stone and Lisa Mitchell helping to boost their profile substantially. However, this short trip around Australia as the main act proves their ability to draw crowds, with shows also selling out in other capital cities, and it promised to be an enjoyable night.

First up was Perth band The Chemist, who seem to be making a name for themselves as a solid opening act. Having seen them a couple of weeks back in support of Old Man River, I knew what to expect from the band’s live show. The more you listen to this group though, the more you have to wonder just when these guys will break out into bigger and better things. With their current EP ‘The Wolves’ Howls Shatter The Old Glass Moon’ making waves around the country, it is certain the band will tour the country at some stage this year, with their live show seemingly growing in confidence with every show.

Brisbane band Oh Ye Denver Birds definitely surprised me. They put forth a sound that I had not heard before, which is always promising. The band channels acts such as Yeasayer and were reminiscent of Adelaide band Fire! Santa Rosa, Fire! In their more upbeat moments, though the lower aspects of their crescendos almost symbolized the sound that fellow Queenslanders The Middle East are producing at present. The band implements stilted melodies and woo-ing harmonies, together with a format that allows for jangly-sounding guitars and a wonderful inclusion of a live violin, which appears to be the instrument of the moment for many Australian bands. The use of the violin was particularly interesting, with Katherine Gough showing her talent in both picking the strings and playing in a more conventional manner that allowed the band to produce some quite worldly and atmospheric sounds. The employment of various synths and noise elements though did help to bring the party, which many in the front-row certainly seemed to enjoy. My only criticism is their constant hounding of the sound guy to keep turning up their instruments, which only managed to make their mix blend really poorly, and didn’t help to bring out the intricacies that can be heard on record. Their blend of atmospheric-electro-folk is certainly one to watch out for in the latter half of 2010.

Boy & Bear hit the stage to a rapturous reception from the Adelaide crowd and kicked off with the opening track from their EP in ‘Blood To Gold’. It was immediately noticeable how adept the band were in the live format, and compared to their support bands which tended to implement various forms of sound, the simplicity of Boy & Bear’s resonance showed that great music can be made with bare instruments. Most notable is the voice of front-man Dave Hosking, which really gives the band’s sound a form of authenticity in what they are conveying. The band continued on with ‘The Rain’ and current single ‘Rabbit Song’, which gained a massive reception from the crowd, happy to sing along where possible.

Next came ‘The Storm’, arguably one of the best tracks from the EP, which generally sums up the whole Boy & Bear sound. Although an older track, the song fits well amongst the others when played live, and that catchy-as-hell riff combined with the percussive elements of the song (shakers and hi-hats in full force) and brilliant harmonies. The band soon followed with a few newer tracks and a brilliantly executed cover of Bon Iver’s track Flume, which went down well with the large Adelaide crowd. It was unfortunate that the group could not play longer than they did, due to the fact they simply haven’t released enough songs yet, as they stated.

Finishing with ‘Mexican Mavis’, the track that “did everything for the band” as Hosking states, Boy & Bear leave everyone in a warm and energetic mood, with many still wanting to kick on and dance the night away. Boy & Bear have a sound that is warm, inviting, and quite simple; it is a sound that can be hard to find in amongst the overload of content we are graced with these days. It is good to know a band can stick to their guns and make good quality music using only the bare essentials, with Boy & Bear delivering a delightful collection of songs that left many wanting so much more.

Old Man River, Ernest Ellis, The Chemist - Jive, 14/5/2010

My first Old Man River experience was back in 2007, on a Sunday afternoon, with the band riding high on the back of their debut LP ‘Good Morning’. I remember the great joy and musicianship that Ohad Rein and the other band members conveyed through their songs and how comfortable the band was on stage. Fast forward to 2010 and, after topping the charts in countries as diverse as Japan, Italy, and Germany, Old Man River was at last back on the road 2 years after last touring Australia.

Perth band The Chemist appeared first and kicked things off nicely with their off-kilter style of indie-pop, showing they are a band to watch out for in future years. Their set built up gradually and finished with a heavy echoing conglomerate of noise that rang out throughout the venue.

Next up was Ernest Ellis from Sydney. This band has been making waves recently after receiving a large amount of radio airplay, so I was quite excited to view the band in the flesh. As it were, they were extremely impressive, even considering the fact they were without a keyboard player on the night, which Ernest did apologise to the crowd for. The apology was unwarranted though, as the band’s live sound in a 3-piece set-up made their show all the more dynamic. The thing that really struck me was the passion displayed by all three members, with pulsating drums and almost U2-like riffs, coupled with Ernest’s knack for writing thoughtful lyrics, particularly shining through on songs like Heading For The Cold and set-closer Loveless.

The PA system had a collection of songs from The Beatles playing during the interval that preceded Old Man River’s appearance, and suddenly the mood became a lot warmer. The band appeared and opened straight up with 3 tracks from their first album in Sunshine, Believe It and Better Place. Ohad then followed with a solo acoustic number that was played to a silent and attentive audience and, by the third chorus, the majority of the crowd was singing along with the heartfelt track.

Things soon kicked back into gear, with the band road-testing songs from their upcoming new album Trust. Many of the songs went down well with the small but enthusiastic patrons, with new single You’re On My Mind gaining a warm reception. However, the biggest response was left for the older songs, with the band playing Summer towards the end of the night. The encore was brief but the band’s rendition of La had everyone on their feet and jumping around without a care. Members of the other two support bands came on stage to help out by playing any instrument they could get their hands on, and the crowd’s participation was particularly useful when it came to creating a mash of animal noises and generally left everyone in an upbeat mood as they left Jive.

Although the set-up and band members had changed since their last trip around Australia, Old Man River still stayed true to their sound and filled the room with a rockier, more permeating sound that will surely be fulfilled in the group’s new album.