Live Review: The Herd, Sietta, The Governor Hindmarsh, 27/08/2011

I applaud The Herd. Not only, as a collective, have they provided us with four successful albums and now a fifth in Future Shade, but they have also nurtured many acts into success through their Elefant Traks label. In amongst their own body of work has come solo projects from basically all of the eight members that form the band; the work of Urthboy, Ozi Batla, Unkle Ho, and Jane Tyrrell’s contribution to Newcastle acoustic troupe Firekites provides a snapshot of the hard work and commitment to the music industry that these guys have delivered. Their political nature and controversial lyricism has further defined their 10-year career, allowing them to reach audiences broader than simply the Australian hip-hop community. And yet they achieve this with such a great sense of honesty and modesty, two attributes that can be hard to find in a genre dominated by big egos and self-indulgence.

My gratitude further extends to their support act, Sietta, of whom Elefant Traks recently signed. The Darwin-via-Adelaide two-piece has received strong recognition for its debut release The Seventh Passenger, culminating in a nationwide support slot with their Sydney label mates. A successful frame of mind usually brings about confidence in any field, and from the first moments of these guys taking to The Gov stage, Sietta were completely at home. A strong performance was merely a fait accompli. Along with two backing singers, lead vocalist Caiti Baker is bold, completely soulful, and full of the elements that made her influences Etta James and Aretha Franklin great. Her flow is smooth, and complements the musical stylings of her compatriot James Mangohig, who has the production and soundscape side of things covered. These soundscapes are eclectic, ranging from funk and soul, to much deeper electronic and bass sounds, whilst even dabbling in amongst the reggae and dub creations that appear to be sweeping the world at present. This is most likely the reason they will go onto great success; their variation of sounds will hold them in good stead going forth into further recordings and tours. And with a breakout song as attractive as current hit What Am I Supposed To Do, the future looks bright for this talented duo.

You can feel the anticipation throughout The Gov as The Herd prepare to take the stage. And when they do, they begin an hour-and-a-half onslaught of pure, no holds barred music. Opener 20/20 is the perfect way to kick off the set, demonstrating the 8-piece at their absolute best both musically and lyrically. The set-up is spellbinding for a hip-hop crew; there are turntables, keyboards, electric and bass guitars, piano accordions, oh, and some MC’s for good measure. Most often, each member takes a turn at assisting the group’s sound with any instrument they can get their hands on. Tracks from their new album demonstrate the progression this group has made over the course of their 10-year history. Jane Tyrrell-penned Grandma’s Song is indicative of their maturity, while the chorus in Spin Cycle is hard to avoid, portraying the urgency of the band’s messages.

Recent singles The Sum of It All and Signs of Life are played to perfection. There’s something about Signs of Life that really hooks you in; there is a slightly off-time feel to it, slowly flowing along, then completely over-emphasised in its culminating fade-out. Popular track from previous album Summerland, The King Is Dead, gets a worthy spin before the band leave the stage, only to return for an encore that largely pleased the sold-out Gov crowd. The group’s brilliant cover of Redgum’s I Was Only 19, possibly the most successful Australian cover of recent time in terms of not only musicianship but also cultural significance, was indeed an emotional performance. Then finally, the crowd was rewarded with a version of the band’s first ever single Scallops, to which they responded with word-for-word sing-a-longs.

My burning after-thought from tonight’s gig was that Australian hip-hop, and in a broader sense, the Australian music industry is a far brighter scene with The Herd around. Their influence on young musicians in the genre has provided it with a level of respectability that can sometimes be lost in amongst the narrow-mindedness of many urban artists in the Australian music landscape. If the band did happen to walk away from the business tomorrow, they would leave the Australian independent in a far better place than they found it in. A capable pair of hands they have brought to us, along with cultural sense, political advocacy, moral conscience, and fantastic music to boot. They still set the pace amidst their contemporaries in all areas, and seem as though they may do so for some time to come.

Live Review: Darwin Deez, The Salvadors, East End Villains, The Gov, 3/5/2011

This show tonight was a hipster’s paradise, or perhaps a perfect outlet for those who wouldn’t usually let their inner hipster out to attempt to do so. What most surprised me about this special Groovin The Moo sideshow, of which Adelaide has been provided a number of this month, was the immense of young screaming girls after the blood of Darwin Smith, flamboyant lead singer of headline act Darwin Deez. Given that this was an all ages show there were certainly grounds for this to occur, but for some reason I never imagined Smith to be the next teenage icon of the 21^st century. He comes across as more of an indie nonchalant, and along with his equally boisterous band, creates a vibrancy that cannot be ignored. And with the screaming fans hanging on his every word, it made for a fantastic atmosphere for a Tuesday night at The Gov.

As the night warmed up, East End Villains had already begun winning over new fans with their tribal-infused brand of indie kraut-rock. Their music is genuinely pulsating, and you get the feeling these guys are onto brighter days in the future. Although there was only a small crowd gathered early on, many started to flow towards the stage to get a glimpse of the 5-piece in action. It is a very engaging live show they provide, with the second drum kit adorning the front of stage adding an extra slice of intensity to the band’s sonic presence. Having seen them a few times last year it appears as though East End Villains have improved their sound markedly, showing that they are ready to take the next step in their careers. The support slot for an act like Darwin Deez surely does their cause no harm.

The Salvadors were up next and they put on a fantastic show, something which is expected of them amongst many of us Adelaide gig-goers these days. The guys were on a hiatus specifically to record the follow up to their successful debut EP, however stated they could not pass up the opportunity to support the formidable New Yorkers on their Australian jaunt. As the crowd slowly made their way in from the beer garden to fill the room, the Adelaideans began to kick start the party atmosphere and proved their wares with a set list that comprised tracks from their past, present, and some newer ones we are likely to hear more of in the future. Another band that generated some new fans tonight and brought about much hipster shuffling from the young ‘uns.

One prominent aspect of Darwin Deez’s set was not in fact the set itself. I have never witnessed a band with the prominence of these guys actually set up their own gear on stage without a single roadie. It was quite impressive to see and proves that if you can do it all yourself then why wouldn’t you? Once the gear was in place and the band came back out, they never quite looked back. This was not just a live show, but a fully-blown choreographed performance. Complete with interlude contemporary dance compositions to specifically themed mixes this New York 4-piece knew what they were doing on stage. Most intriguing I guess is the fact that musically, the songs on offer overlap each other on many occasions, almost as if Smith has cottoned on to a chord pattern and wanted to multiply it over again. Sampled drums mix with live stickwork, creating the band’s unique unrefined sound, while the guitars are rough and distorted, everything they should be in a live setting.

Yet the overriding sentiment of the night was that of fun. At one stage Smith even made way for a devilish white-boy rap loosely aimed at the mixing guy who, pre-show, wondered if the band would be moving around at any time during the show; this was their time to move around. Smith takes on the rapper tag with ease, spitting rhymes with impeccable flow, and moving through the bunch of adoring fans on the floor only made the crowd’s reaction to this gallivant increase rapidly. The crowd favourites were of note; major singles 'Up In The Clouds', 'Radar Detector' and encore track 'Constellations' gained equally as much praise as album tracks 'The City', 'The Bomb Song' and 'DNA' from the rapturous patrons, with the band running through the majority of their debut album in a set that lasted just over an hour.

Darwin Deez this evening ensured that no fan was left disappointed with the purchase of their ticket. The sentiment from Smith and other band members almost guaranteed a return visit, which heaps much praise on promoters for attracting a band like Darwin Deez to Adelaide in the first place and creating a legacy for this culture in future months and years. Among a slew of other Groovin The Moo touring artists to be stopping over in Adelaide this year, this 4-piece raised the stakes amongst their travelling peers. And with such an enigmatic frontman at their peril who couldn’t forgive the guys for dismissing their inhibitions and having a little fun? Clearly no one at The Gov this evening.

The Waifs, Mama Kin, The Gov, 15/3/2011

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.

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.