LIVE REVIEW: Underground Lovers

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Underground Lovers, Simon Holmes @ Leadbelly, Newtown, May 18th, 2017

With an excellent new album in tow, Underground Lovers finally made it back up the highway to Sydney after a few years absence. They’ve clearly retained and widened their audience too, with two sold out shows to celebrate the release of the new record.

Simon Holmes of The Hummingbirds had to battle the restless and chatty punters but he did so by virtue of some fine vocal melodies and the late-set addition of Adam (vocals) and Simon Gibson (drums) of the Ark-Ark Birds for a trio of their songs. A nice inclusion was a stripped back but still effortless and catchy version of the 1989 Hummingbirds single Blush.

Complete with a cache of psychedelic video projections, Underground Lovers put on a consummate, almost celebratory set. There was a false start with a miscued drum machine on the new song Unbearable but they laughed it off, with frontman Vincent Giarusso blaming nerves. From then on they never put a foot wrong, playing a big chunk of the new album Staring At You Staring At Me, intermingled with highlights from their back catalogue.

They’re a more muscular and propulsive band on stage than on record, the rhythm section locking into fluid and repetitive grooves that strayed into motorik Krautrock territory and down psych rock sonic rabbit holes. Melancholy permeates their music but the shared lead vocals between Giarusso and Philippa Nihill, the blend of Glenn Bennie’s guitar and the electronic elements ensured an all-encompassing sound that filled the room and was much dance-inducing as it was forlorn. Every Sign and The Rerun were two highlights from the new record – dark dance music akin to Primal Scream at their most rewarding junction of electronic and rock music. The biggest crowd response came with Dream It Down’s Las Vegas. A chanted sing-along ensued and when Giarusso hit the line “Lots of feathers, fluffy and pink, and cigarettes” an audience member responded with one. It was a weird sight seeing a cigarette inside a venue in 2017 but it was a fine moment at a gig where the mood of re-lived youth and fresh musical discovery was in the air.

Chris Familton

LIVE REVIEW: The Tall Grass, Adam Gibson & The Ark-Ark Birds, Christine Jane

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The Tall Grass, Adam Gibson & The Ark-Ark Birds, Christine Jane Leadbelly, Newtown (May 6th, 2017)

This was a double album launch for The Tall Grass and Adam Gibson and they chose well to celebrate their new albums together. The songs and music of both bands deal in rich poetics and tangled and exultant musicality. Mood and emotion are strong components of their respective works.

Christine Jane and acoustic guitar accompaniment opened the evening with a set that got better as it progressed. Her voice proved to be a versatile instrument and her performance was assured, culminating in a wonderful and bluesy, jazz serenade.

Adam Gibson & The Ark-Ark Birds sound like a quintessentially Australian band, one that straddles communal indie pub rock sounds, evocative wide open desert plains storytelling and heady suburban poetry. The six-piece were augmented by the vocals of Alannah Russack and a fine guest piano turn from Jadey O’Regan. Gibson is the real focal point of the band though, his spoken word delivery, slightly awkward to fresh ears, quickly became a hypnotic tool, drawing in the audience with tales of sisters and stranded sharks, missing persons, torn apart towns and stilt walkers. Belanglo, Byron And The Road Between was completely captivating, the band sounding like the Bad Seeds soundtracking an ominous tale that was never going to have a happy ending.

Witnessing the two year gestation of The Tall Grass, the collaboration between Peter Fenton (Crow) and Jamie Hutchings (Bluebottle Kiss, Infinity Broke), has been a fascinating one. Beginning as an acoustic duo they seemed to be woodshedding skeletal songs on stage, finding their feet and the right blend of style and song. The release of Down The Unmarked Road was their first full-band show and the effect was akin to transforming a black and white photo into a full-sized colour print. Texture and depth was added and both artists were freed up to stretch out vocally and with their guitar playing. Little City was a highlight, its gently propulsive and coaxing rhythm and the pair’s melodic interplay sounding sublime. The Road Is Long contrasted with its rougher edges, and Tom Waits-ish clatter, Fenton and Hutchings opening their lungs, gritting their teeth and leaning into the song with real intent. An impressive realisation of a musical collaboration and clear mutual respect.

Chris Familton