Lanie Lane @ the Hi Fi, 31st May 2012 VS Kirin J Callinan, Black Bear Lodge, 21st May 2012

VS 

BLOGFIGHT!

I've decided that part of the reason why I am so terrible at posting reviews on time is that I take far too many words to review them. Less is more, as they always say, and I don't necessarily have to take 1000 words to say something that can be better said in 500. So, concise.tight.reviews. is my plan. With that in mind, I'm going to review Lanie Lane and Kirin J Callinan in the same review, and I will decide which I liked better, and the winner gets more song plays from me! AND I'm going to be as brief as I can about both of them. 


Lanie (pronounced "Lannie", somehow) Lane, has won over Rockwiz viewers and general Australians, bad teeth and all, with her 1950's rockabilly country pop style, and all the fashion and hairstyle trimmings to accompany it. It's a selective genre, one I've not been very familiar with or really found an interest in. 
But for one parental birthday or another, I went along to the Hi Fi, Dad's favourite venue of choice (see 'Damned' review), to see her perform. Upon our arrival, the Rubens were already deep into their set, a band who is gaining a lot of momentum on Triple J at the moment. I really liked their effortlessly bluesy rock style, with a heartfelt croon which particularly stands out in their current single "Lay It Down". I even, almost, bought an EP.
Lanie was a happy, excitable young lady backed with a very exceptional band who accompanied her soulful voice well. She belted out her songs with emotion and thrill, playing guitar along with them. Throughout the tunes she threw in a couple of words about the songs, stories of love and loss, gentlemen and country livin', culminating in that one song I'd heard, "Oh Well, That's What You Get For Falling In Love With A Cowboy". Throughout the set I was very impressed with her talent and skill, and the way she and the band complemented each other so well. But I was sadly, and sorry to admit, a bit bored. The fact is, as I said, hers is not the type of music I'm that fond of, and it was really the style I was bored of. The only time it was changed up at all was during a duet with Lanie and her guitarist (Aidan Roberts), who sang a song about drugs that he had written. My parents thought it was a bit wanky, and as Lanie listed off a bunch of substances while backing Aidan's chorus, it kind of was. But it was also a very beautiful, stripped back song, that put the spotlight on Lanie's voice as well as showcasing Aidan's nicely. 
Despite my waning interest, there was a full crowd tonight, and her popularity is for good reason. The girl has talent in spades and is obviously beloved for bringing old fashioned country music to a mainstream(ish) audience. She's even supporting Jack White on his Australian Tour. So, great job Lanie, and I'm sorry I don't like you more.

Lanie: No fucks to give.

Then, a few weeks later on a Thursday night after a lovely dinner with a good friend, I accompanied my gig buddy/boyf to see Kirin J Callinan at Black Bear Lodge. I knew nothing about his old band the Mercy Arms, or himself, or what kind of music he performed (Triffids meets My Bloody Valentine was my reference point), but was happy to see something new... as I usually am!
After two support bands, one averagely ambient (DCM), and another much more entertaining and indie-licious (Nite Fields), we were both ridiculously tired. But thankfully, Kirin arrived with his super unique haircut: perfectly shaped black fringe with shaved head and very short straight mullet at the back of his neck. 
Already fans were urging him to take off his shirt, to which he replied smoothly "In time, in time". I'm not sure if it was necessary, but he kept to his word upon reminder. 
Anyway, to the music. I'm at a weird stage in my taste where I've discovered Rowland S. Howard, and now any angsty weird guy who sings with a deep voice sounds like him. I can't be objective enough to tell you if Kirin actually does, but he reminded me of Rowland anyway. Kirin had a band with him, all decked out in hospital masks, which he proudly told us he paid $2 each for. However, I'm not convinced they were necessary, as Kirin, his amazing, powerful, vibratoing voice, and his guitar that went from whispering to howling in seconds with hardly a strum, would have been enough. 
After a couple of songs (I can't tell you what they were called, and I doubt setlist.com will be able to help me), in which all ears and eyes were glued to the stage, Kirin took to a different form of entertainment: spruiking autographed framed pictures of himself. It was pretty amusing and if they weren't a bit creepy, and I had the money, I would have bought one for the heck of it. His stage presence was pretty incredible and he had a really professional, and comfortably natural way with the crowd, despite having an appearance about him that would suggest a more timid, troubled genius. 
His songs were confronting, heartbreaking, jarring, and shoegazey, and he conveyed so much with his voice, and accompanying facial expressions, it was easy to forget how tired I was and just watch the magic unfold. I was pretty well won over. They didn't have time to do a couple more as they had to drive back to Sydney, so it felt a lot shorter than it should have been, but very satisfying. 

"When I told her, I didn't love her anymore, she cried."

While his recorded stuff is good, he's really best to see live, so if he's ever around your way, do yourself a Steve Brule and CHECK IT OUT. 


Lanie gets 7 out of 10 Peggy Olson 1960 Fringes, and Kirin gets 8.5 out of 10 Kirin J Callinan 2012 Fringes. KIRIN WINS! A toast.


p.s. Ah Blogger, you were doing so well, and now you're doing weird random highlighting that I can't turn off. I apologise on behalf of blogger, readers.

A short and sweet Elbow Review: Saturday, 24th March 2012, The Tivoli.

I want to just briefly post about my last Elbow gig in March, as I've already reviewed them, and this performance was essentially song-for-song identical as the Enmore gig I first reviewed. Regardless, there are things to be said about this performance, and while I'm in danger of sounding like an obsessed and crazed band groupie, I have to tell you how good they were. 
I only caught the tail end of Bombay Bicycle Club, as gig buddy and I decided that the jazz band at Black Bear Lodge were good enough to sit through most of during pre-drinks. A little bit of research tells me they were the Low Down Jazz Quintet. They were really quite entertaining and their smooth sounds, coupled with the rustic feel of Black Bear, with corner tables and real candles, overlooking a bustling city, made me feel like I was in some 1950's lounge bar in New York. I also now want to be the singer of a jazz band. 

Anyway, Elbow. Oh Elbow. I was really excited to see them for the third time, and despite not trailing off the same setlist as last year's, they did not disappoint in the slightest. Frontman Guy Garvey was all charm as usual, perhaps telling the same stories as usual but with fresh spark and excitement to be there, and keeping us all amused. He also gave annoying hecklers (we heard you yell 'MANCHESTERRRR!' the first time) what for, not being afraid to tell them to shut the hell up. 
The weird thing about me and Elbow is I actually dearly love their earlier albums (especially 'Asleep In the Back', one of my favourite albums of all time), over their newer ones, while I do love them also. Over the past few years, none of these songs are touched on in favour of Mercury prize winning 'Seldom Seen Kid', and latest 'Build a Rocket Boys'. Remember, I love these albums as well, both are stunning pieces of work, they just lack the darker, more mysteriously complex and brooding side of Elbow that their first ones contain. Basically, Elbow are much happier lads these days and it shows. But what really helped me have the  ultimate best time at this concert, was that I am a much happier lady these days, and I can actually relate to the jovial, schmaltzier stuff that they are all about in their live show. It's of course not all love stories and 'today is grand!' moments, and those sweetly melancholic songs they go back to e.g. "The Night Will Always Win", and "Puncture Repair", are enough to bring a little moisture to the eyes. So ending on the uplifting "One Day Like This", is a necessary move, because it ensures their audience leaves with an ultimate high and smile on their face, and that they reflect on the night as a performance to remember.
I haven't even mentioned how GOOD the band is, how precise and delicate and moving their musical performance is, and how fucking emotive and delighting Guy's voice is. It's this, combined with their obvious love of performing, which completely gets me, and even if I'd probably die of joy if they played "Newborn" or "Asleep in the Back" from their debut, I'm still enamoured by their performance every damn time. They're not hip hop or indie rock or ambient-electronic aficionados go-to band by any means, but dammit they're probably the best live band I've ever seen and should be rewarded as such.
Anyway, here are some piccies!

'Mirrorball'. Schmaltz.

oh heavens.

'Weather to Fly'. Still much better than on record.

probably some audience participation bizo or whatev

If you love Australia so much why don't you marry it.

9... and a half... armpits out of 10.