Ed Kuepper (as part of the Brisbane Festival), Tuesday 20th of September, The Spiegeltent, King George Square

After such a good start with Custard, my praises for this year's Brisbane Festival appears to have run its course, thanks to Tuesday night's experience at the Spiegeltent. The Spiegeltent is a Belgian travelling venue that makes its way to Brisbane's festival as it does to Melbourne, Sydney, Edinburgh, and other international events. It is truly a magnificent spectacle, luxuriously decked in velvet, stained glass and mirrors, and we are extremely privileged that it comes here once a year for a few weeks. Hence, half the reason for my decision to see The Saints/Laughing Clowns/Aints pioneer Ed Kuepper, was due the fact he was playing in this venue.

Before I get into my gripings however, a little Kuepper run down. I have seen this old chap live quite a number of times now; by himself, with his second band the Laughing Clowns, with Jeffrey Wegener (drummer from the Laughing Clowns), and with Chris Bailey, his Saints counterpart. I'm not going to lie, all these gigs have been with one or both of my parents, and my dear godmum, who have followed his career meticulously through the years. They share a bit of a soft spot for him as he went to school with a couple of their friends, and he also lives a few streets away from my family home. In fact, mum had to excitedly tell me today of her experience walking our dog near his house, to find Ed walking his own dog and letting both dogs have a mutual buttsniff. They're of course best friends now.

Ed is a local legend in his own right thanks to his key role in Australia's 'first punk band', and his band Laughing Clowns has been an inspiration to many Australian bands including the Triffids, Go Betweens, and The Birthday Party. Somehow he still slips under the radar a bit and I find most of the people at his shows are the same ones, all around my parents' age or a little younger, including those friends of his from school. Where Chris Bailey with his floppy hair and 'tude was the rock & roll image of the Saints, I see Ed as more the brains and technique of the band, which may account for his continued slightly underground status. Anyway enough of these silly opinions of mine! To the gig!

And with that here comes my criticisms. As it always has been, the organizing and planning of Brisbane Festival events are a little stifling. Firstly, you have very little chance to appreciate the Spiegeltent properly, as the show is so goddamn early and on time (precisely 7.00pm), so you have to quickly shove a dinner down your throat before rushing into the place. It has a really nicely set out area outside with astroturf and picnic tables, in which to grab nibbles and a drink. An incredibly, extremely overpriced drink. I went to get my shout for my mum and godmum, to find that all of the wine on offer was Chandon. Chan-fucking-don? Are you kidding me? Are we suddenly in the Hamptons? Why are you serving one of the most expensive mainstream wines in one of the cheapest Australian cities, during what is in fact their actual namesake festival!??!? WHO ARE YOU TRYING TO KID?

I went for the $8 Shiraz and got knocked back as they did not have any left. OF COURSE NOT BECAUSE WHO WOULD ORDER THE $10 CAB MERLOT? But, it's only red wine for these ladies, so I had to shell out $30 for my round. Boy oh boy oh boy. Luckily they filled the glasses over the little standard glass line almost as a peace offering. Sheeeeit.

As we settled in, my ladies choosing the worst possible place to sit (left of the centre with a big mirrored pole in front of me), the next stage of my gripe became quickly apparent. There was absolutely no way i was taking a photo, not even on a phone, or the photo hawk would come swooping down on anyone quick as a flash. She stood at the front corner of the venue peering into the crowd like an irate teacher, until she disappeared briefly, probably to rap someone on the knuckles with her cane, and so all I got was a hurried bright blur. Hence you will just have to close your eyes and conjour up the scene yourselves. Imagination!

So in came Kueps, old Eddy, our pal. A little scruffy around the edges, a little rotund, a bit more bearded and just as balding as I had last seen him, but with that unrecognisable smile and slightly lazy gaze. He set up his guitar and introduced his accompanying drummer, Mark Dawson, former member of The Aints, and got straight into playing the first song off his 1985 album 'Electrical Storm'. I hadn't realised until the night that he was to play two of his solo albums in full at this show, his first solo effort 'Electrical Storm' and then the acclaimed 'Today Wonder' from 1990, the only one I had listened to. You think I'd know all his songs by now due to all the shows I've seen, but I am still very much learning. Anyway, he kicked off beautifully, and all eyes were drawn to his absolutely exceptional guitarwork. Pacing through each song with ease, his voice accompanied his guitar breezily, not faltering a second. It's a unique voice of his, in a really likeable, soothing way, and I think I speak for his fans as well that I'm glad he chose to use it as a frontman and solo artist as it runs rings around Chris Bailey's signature scowl.

Mark Dawson was extremely good as accompanying drummer, and they fed off each other as if fused together; neither missed a beat or cue and the songs flowed as if really being played on a record. I really enjoyed the earthy, gritty and poetic songs they carried along, crescendoeing at the title track, which I must have heard somewhere after all. You could classify Ed's solo sound as Australian folk, in the vein of those inspired by him such as the Go-Betweens and Triffids. This would be on the mark, but his music has an almost dirtier, rawer feel, setting your imagination free to be in the song and really picture the images he puts across with his melodies and lyrics.

There was little time for chat, as Ed noted that he had time constraints, but he tried to throw as much in as possible, mostly in jest at his partner Mark, by attempting to tell his life story, repeating a few times that Mark was available for the ladies after the show. Mark was remarkably unshaken by this talk, simply smiling and playing on.

On it went with 'Today Wonder', even earthier than the first, and just as good (I hope to be raiding the family LP collection this weekend). Some more recognisable highlights here for me, obviously, particularly the achingly beautiful ballad "Everything I've Got Belongs to You", which even involved a halfdone sing-a-long, and the amazing continual medley at the end of the album/show, including "Eternally Yours" and finishing with a cover of "If I Was a Carpenter". While all keeping within the same musical essence and feel, with each song Ed showed his immense skill and refined technique, and his guitar playing alone filled the entire space with rhythm and melody, absolutely enhanced by Mark Dawson's drums. If you were hanging around outside the tent, you may have expected there to be two or even three guitarists onstage, but there was only one excellent Ed, accompanied by intricate, full bodied drumming that carried these phantom guitars .

As he completed his set, that was that and he was gone. There was little time to process the performance, as not a minute later was the announcement over the PA: "If you do not have tickets to see the next show, dream menagerie of dreams and things, please exit the venue." I.E., please GET THE FUCK OUT. NOW.

So, being told, we scuttled off, and Ed hung around outside for signing things and selling his Prince Melon Bootleg Live CD series. I stood in line for a signature and even though he's more like an old uncle than a rockstar, all I could say was "Hi, you were amazing". He thanked me for coming with quite a genuine smile, naww. My mum and godmum had suddenly transported back to the Class of 1970 and would not go up and even check out his wares, let alone say hello.

All in all, it was most enjoyable; there was literally nothing but yourself and the music and the stories and histories embedded within them. No theatrics or stage antics, which was exactly how to appreciate his music. It was all-consuming.

But, here it comes...

HOWEVER, if the festival curators want people to come see their shows, they have to not treat them like (private?) school children. Especially when the mean age of the audience was about 55. I don't wish to be a cranky pants, but we are adults here guys, and as this audience are of the Ed Kuepper fan variety, they enjoy a (reasonably priced) drink, a lazy stroll, a good sit, and a leisurely chat about what they've just seen. Just the same as most older (and younger!) alt-music concert goers. I appreciate people want their dream menagerie time so they can gawk at people with small statures dressed in top hats (disclaimer: have no idea what happens in dream menagerie), so maybe it's not a good idea to have two completely different things from different tastes together in the one place on the same night. Just good planning maybe? Where's my next focus group dammit!!

7 out of 10 glasses of Gossips*

*Jokes guys!! I do have some standards (now)

Custard (as part of the Brisbane Festival), Brisbane Powerhouse, Saturday 17th September, 2011.

Last year I caught a few acts presented as part of the Brisbane festival (Dan Kelly and Ed Kuepper), and consequently ended up in one of those focus groups for cash. The group wanted to know how we thought the rather un-famous Brisbane Festival could be improved. I was the youngest and gen-y-est of the group, otherwise consistently largely of people into theatre, art, and the combination of the two (performance art) dance, cabaret, medieval role play, and circus type dealio stuff. My contribution consisted of my love of the Brisbane music scene, and how I think Brisbane festival would bring in some extra punters (particularly my demographic) if they showcased a history of Brisbane musical artists bringing to light how the Brisbane scene formed and developed. I included examples such as the Saints, LaughingClowns, Go-Betweens, Riptides, Custard, Grates, Regurgitator, and a trillion others, yes even Violent Soho. No one seemed to really care for what I was talking about, as early on in the piece many of the contributors passed off this ridiculous "alternative indie hipster" music as being ho hum and boring. But I do feel like perhaps maybe someone thought that one of the bands I mentioned would be a good idea to get involved in the festival. Because lo and behold, when this years Brisbane festival itinerary was announced, Custard was on the bill! You are welcome.

So, Custard, if you don't know, were formed not far from my current residence, and were lead by the everyman vocalist Dave McCormack, Matt Strong on guitar, Glenn Thompson on drums, and Paul Medew on bass. They left an amazing legacy behind (if you ask me) which Dave has attempted to continue through consistent projects such as the Titanics, the Polaroids, and just plain Dave, which are all great things. However it is hard not to long for that excellent combination of musicians that brought together Custard.

Custard have put on a few reunion gigs, one at the Q150 celebration (early 2010??) and the Float On Flood Benefit gig early this year. I couldn't attend either due to a clash and also a flash of ticket sales. With no clashes, and shitty advertising, I was able to safely secure a ticket for myself and parentals, to their Brisbane festival show.

Naturally due to said parentals, things had to be more complicated than they should be, and we arrived there within a few minutes of the band making it onstage. I felt quite young again! Hooray! My parents fit in like a couple of pensioners on a citytrain from Maryborough. We were seated on a grandstand which had been set up especially on the side of the Powerhouse, which filled up nicely with a bit of room to move (and dance if you were up the top). The band kicked off with Goofinder, and seconded with Pack Yr Suitcases, and it was all onwards and upwards from there, just how I imagined them to be live.

The hits came thick and fast, in between brief relaxed banter from Dave and Matt, well as relaxed as could be within the 60 minute timeframe. "Anatomically Correct", "Nice Bird," , "Pinball Les" "I Feel Like Ringo", "Alone", "Apartment", "Hit Song"... they were all there, blazing with energy and all the charm they exuded in their heyday, as if time had never passed. "Girls Like That (Don't Go For Guys Like Us)" began as fresh as the day I saw it on 'Rage', and, listening for it, I was amused by Dave changing the line "For I am considering/A move to South America" to a more relevant "A move to Wooloongabba". Nice one Dave.

I hadn't fully realized what excellent musicians they are until watching them in action together. Matt is true to his namesake as an exceptionally strong guitarist, and murdered each song with power and complete enjoyment. Glenn Thompson was equally brilliant on the drums and even David did a good job on the drums during their brief instrument swap for "Music Is Crap". And bassist Paul was superb, camping it up to perfection during their disco-esque songs to groove the audience.

swapsies!

As their last song before their rushed encore, Dave began to sing the familiar words "In discos...", the opening lines to "Caboolture Speed Lab". And so I was able to fulfill my childhood dream of rocking out in the audience to this song, sing loudly to "GET BACK INTO THE HERE AND NOW" until the end of it, then stick two fingers up in the air and scream "CABOOLTURE REPRESENT!"*. I so thoroughly enjoyed hearing such a prominent song from my younger days. Not only is it the best named song in the universe, but it is also one of their most satisfyingly catchy best.

Ending the set with a much older favourite "Bedford" and "Pluto", from their last album 'Loverama', they left the audience with broad smiles and the huge desire for more. You could see that the band themselves were also leaving with smiles and the vibe that they absolutely loved playing these songs again, and would have been happy to continue. It would have been so nice to have got a bit more than the tight set they were allowed, but the feeling of immense elation and satisfaction of such a well played, pleasing performance, took over this thought. I was so happy to have my first and perhaps (but surely not) only Custard live experience, so for that, I am grateful. The fact it was also amazing makes me a very, very, pleased young gen-y-er.

9 bowls of jelly out of 10.

*No I didn't.

...And You Will Know Us By The Trail of Dead, Hi Fi Bar, Friday 9th September 2011

I'm not quite sure what it is about Austin TX band ...And You Will Know Us By The Trail of Dead that first caught my attention or that kept my attention, even after they went through a proper awful period. And when I look at it, they are the heaviest and most prog-rock band I have got into from this modern era, and likely to remain the only. Blaring ghastly distortion, screeching shouts of repetitive "fuck you"s and the like, thundering drums, lyrics of existential desolation, apocalyptic premonitions and all sorts of negative shit, the many intense earsplitting guitar solos, and superficially speaking, the ludicrous medieval fantasy-esque titles and album art, all mean really I should not love this band as much as I do. But I do very much do.

If you ask me, what sets Trail of Dead apart is the fact they are actually very creative and fabulous tunemakers. Where metal-heads get their kicks from metal bands I've never heard of, I get my similar kicks from Trail of Dead. When it's time to rock the heck out and fuck the world, it's time to listen to Trail of Dead. Except 'So Divided', please do not put this album on thank you. While Trail of Dead built up a pretty steady fan base from their self titled to their 4th and arguably most commercial (and what won me over) 'Worlds Apart', they almost lost it with their disjointed, cringeworthy failure of their fifth, which was insult to themselves and said fanbase. Luckily they dusted themselves off and tried again with 'The Century of Self', a great improvement, and now with 'Tao of The Dead', which has them back on very solid footing, and even frontman Conrad Keely has decided it is his favourite. Not mine, but it is a very good album.

Anyway, Saturday night was the second time I'd seen them, after a pretty great set in 2009, this time at a bigger venue than the Zoo... and, because not a lot of people care about this band, it was not even close to sold out. It felt a bit weird standing in a very small mosh amongst a lot of nerdy hardcore males, when it is probably the most mosh-y band I will see this year or ever. Oh well!

The set began with the opening overture from 'World's Apart' ("ISIS! HORUS! RA! SETH! ISIS! HORUS! RA! SETH!" and a pretty haphazard entrance from the band, which Conrad acknowledged with the opening words "That was supposed to be much cooler". They would have redeemed themselves with the next track off that album, but instead they launched straight into 'part 2' of their new one, containing of over 15 minutes of continuous, soaring melody and layered guitar. They continued the new album theme with a selection from 'part 1', including the haunting and pleasantly melodic combination of "Spiral Jetty" and "Weight of the Sun", and ending on radio-friendly "Ebb Away" and its ridiculous outro, "The Fairlight Pendant".

This nifty little selection from 'Tao of the Dead' was a great way to showcase their new stuff, in a way that supported the album's concept, as on record each song flows seamlessly to the next. I had wondered how they could do that successfully and congrats to them for doing so, helped by playing fantastically tight, with absolute energy and effortlessness. It even sounded like Conrad's voice has improved on 2009's concert, as while live he's often partial to a few awkward missing-the-mark moments, there were few if any of those tonight. (Was it my imagination or was he looking fitter too...?)

just a tad?

In the same way, the new album medley opened up the rest of the set for what would get the crowd raging, classic Trail of Dead highlights. First, "Will You Smile Again For Me", which just, sorry, fucking ruled, and then "Caterwaul", which also, sorry, fucking ruled. "How Near, How Far" and "Another Morning Stoner" also made it in, causing the tiny mosh to swell and feel like a big mosh. There was a moment where during my own excited jumping spell, I pushed a few overexcited younguns off me only to turn around and find there was what looked like a meter between me and the rest of the crowd. Surprisingly, they played "Clair de Lune", a slow burner and personal favourite, which disappointingly didn't really fit in with the rest of the set and felt a little awkward and lacklustre. Luckily, it was all forgotten by "Richter Scale Madness", the electric standout from their first album, reminding us all what Trail of Dead came here to do, make lots of noise that make people go crazy.

They left it here and went off stage, to never return for an encore. However I was pretty satisfied. While I would have loved to hear more, the whole experience displayed a band that appear to have come out of their various hiccups over the years, to find themselves in a place where they have always wanted to be, and are happy to remain. While I never saw them in their early years, the grit and raw energy of their early albums appears to be back in full swing, and it was all there in this show (there was not a whisper from 'So Divided' or 'Century of Self'). The band looked happy, proud, and like they were enjoying themselves and liked where things were going. If Trail of Dead never release another album or do another tour, it would be okay, as they would have made their final mark on the world (and in Australia), a fantastic one, true to themselves and their legacy. And thanks to this gig, they have now surpassed David Bowie and taken the no. 2 spot on my Last.fm chart, goddammit. Good work boyz.

8 1/2 black moptop haircuts out of 10.

ELBOW, The Enmore Theatre, Sydney, 29th of July 2011

THIS REVIEW BROUGHT TO YOU BY EMBEDDED YOUTUBE LINKS!!!! CLICKY!!!!!!!!

The second show on my Sydney agenda last week was Elbow, the likely lads from Manchester. Elbow had been enjoyed slightly passively by contemporary rock audiences, but became much beloved after their Mercury Prize winning album 'The Seldom Seen Kid' was released in 2008. They toured Australia in 2009 on the back of that gem, and their Brisbane Tivoli show is permanently etched in my mind as one of my top 10 live concert experiences (full list TBA). So naturally, I was determined to see them at the Enmore, coincidentally just around the corner from some dear friends of mine who were equally as keen. Perfect!

The Enmore pretty quickly reminded me of the Tivoli in its set up and vibe, however the back half of the GA area had an awkward slanted floor, which could be avoided depending on how avid a fan you were. There was also a mini bar at the right of the stage for a few refreshments which I thought was nifty if you didn't want to go too far to get more drinks! (No wine though, sadface.) We settled in a good, flat position, only just missing out on the support act Matt Corby. Sorry Matt Corby.

Hey Guy Garvey!

Frontman Guy Garvey and band arrived (Drummer Richard Jupp, brothers Mark and Craig Potter on guitar and keyboard respectively, and Pete Turner on bass), and opened with the powerful droning beats of "The Birds", the opener of this years album 'Build a Rocket Boys!'. The song is pounding, evolving, and enlightening with a hint of mystery, and as it built up onstage supported by the grating yet delightful howl of Guy's vocals, I remembered why Elbow's live performance is so high up the list for me. The song is good on the album, it's quite great really; but absolutely nothing beat this live version of it. They took a great song and turned it into an amazing layered journey of heartfelt emotion.

It was all up from there, as they continued with "The Bones of You", a standout from 'Seldom Seen Kid'. It prompted one of those heart-in-throat dance-like-a-knob-head moments from yours truly, which continued for all perfect 5+minutes of the song. As they did at the Tivoli, the mirror ball was on for of course, "Mirrorball", performed effortlessly and prettily, thanks in part to Craig's beautiful keyboard playing.

Pete and Richard, Guy's friend in need*

The 'Seldom Seen Kid' tracks continued with crowd pleaser "Grounds for Divorce" and mournful "The Loneliness of a Tower Crane Driver", complete with violinists, with its peak moment at the completion of the second verse exploding with emotion and loss. It almost.. ALMOST... reached the musically orgasmic moment in this Abbey Rd studios performance (and in that they had the BBC Concert Orchestra and London Choir for help). That is how good a live band they are peeps.

Those album tracks were broken only by more 'Build A Rocket Boys' songs and a brief selection from 2005's 'Leaders of the Free World', the only Elbow album I don't have. One of these was "Puncture Repair*" which was introduced at length by Guy who decided to tell us the story behind it. While Richard was away from his drums momentarily, Guy explained how he (Guy) was going through an awful breakup and really needed to talk to someone at a ridiculous time in the morning, when he called Richard, who came and listened and made him feel good and fed and watered him and sent him on his way. He then instructed us to cheer on Richard as a surprise when he came onstage again, whom had actually heard the whole thing. Naww, chums. Luckily it was a very simple and sweet song to boot, otherwise it would all have been a bit weird.er.

Guy's onstage banter continued throughout the show; his charm and charisma is akin to that of a more suave and less idiotic David Brent, in his manner and jokings. He quite clearly exudes an air of self confidence finely bordering on arrogance, which is broken from time to time as he jokes at his own expense, displaying that he really doesn't take himself (or the band) too seriously as other bands of their caliber can dangerously do. While replicating "Weather to Fly", a completely missable song on the album, but an absolute wonder to hear live (thanks also to a live-only acoustic intro as done at the 2009 show), Guy's voice broke a little trying to hit the high notes. Instead of trying to pretend it didn't happen, he laughed and remarked "I really should write songs I can actually sing", and luckily got there in the end. I should mention that before this song, Guy announced that it was their 20th year as a band, and the whole group toasted with a drink to mark the achievement. Twenty years! I had no idea. It's not as easy as you'd expect to find many bands going that long and not only still recording, but still recording amazing, critically lauded material as they are now.

Guy also loves to manipulate the audience at his will and kept asking us to show him our fingers (aka spirit fingers), and also chat and sing with him. At one point he challenged members of the audience to come up with a classic, well loved song that everyone would know. He went from audience member to member, telling hollerers to shut up, until he agreed on "Hallelujah". But that was it, no quip about it or cover of the song or anything. Cheeky bastard.

They finished pre-encore with "Open Arms" an appropriately anthemic ending to their set. As I half suspected, the encore first included "Starlings", in which the band all brought out brass instruments designed only for this song, to play mostly one note. But of course, completely necessary. They also had Australian flags coming off the trumpets which you can't see in this picture.

They finished with "One Day Like This" a power ballad of sorts, used by the BBC for the Olympic games according to a few concertgoers (Confirmed by Wikipedia! Wikipedia also notes that Elbow, which I once used to call the intelligent person's Coldplay, OPENED for Coldplay on their 2009 US tour. k.wtfever.). It was a perfect finish. Tears in eyes, hands clasped tightly together, smiles all round.

The only only thing that is a pretty big thing IMH (in my head) but probably not an uncommon or significant thing in general, is that, they did not play anything pre- 'Leaders of the Free World'. That is, there was nothing from their 2001 debut 'Asleep in the Back', which is my personal favourite and an absolute masterpiece if you ask me in my opinion, or the also excellent 'Cast of Thousands' from 2003. I can forgive them, as they did play a few from these on their 2009 tour, including "Any Day Now" and "New Born" (the album version...ahhhh) which both brought me to sniffles due to being of course hauntingly beautiful, so I still have that very good memory. It would have been really amazing to hear them again though. But I can't ask for the world, so I shall forgive them.

And I think Elbow forgive me for being a little disappointed about that. They may not forgive me for once calling them the intelligent person's Coldplay though... fuck they are so much better in every way than Coldplay. No offense to anyone who likes Coldplay.

p.s. I think Guy Garvey is one of the few people in the world who actually looks better with a bit of chubba on him. Here in this Newborn clip he just looks odd.

NINE OUT OF TEN UK FLAGS! EVERYONE LISTEN TO ELBOW RIGHT NOW. I HAVE EVEN MADE IT EASY FOR YOU.

PULP. Hordern Pavilion, Sydney, 27th July 2011

A few years ago if you were to ask me which bands I really wanted to see before I died, Pulp would probably have not made the list. Not that I didn't enjoy their music at that point but I really wouldn't have expected them to regroup for a tour, so the thought would not have occurred to me. Enter the SPLENDOUR lineup for this year, and that was all I could think about for a good solid week. PULP? REALLY? HECK YES I WILL. I'M THERE. THEY'RE MY FAVOURITE!

Uuuunfortunately $550 off the bat is hard to come by, and I had to compromise on a ticket where they were the biggest drawcard. Luckily, a sideshow at the Hordern Pavilion was a good excuse to catch up with some Sydney friends, as well as get a better show than Splendour could have allowed. Everyone wins! Except that I didn't get to see Kanye's ballerinas. Ah well.

I had hyped up this show for months in my head, and couldn't wait to hear some of my favourite songs sung by the legendary Jarvis Cocker in the flesh. There was no way it could be a let down. The Hordern was brimming with loads of patrons my age and younger (which surprised some, as Pulp's heyday was when I was about 12), and was a pretty decent venue for something called a pavilion- much more laid back, easy to access and much better set out than the Brisbane Ent Centre or QPAC.

Local act Belles Will Ring came on as support, and were an appropriate and entertaining choice, bringing some gritty sixties pop sounds to the stage. They had a slightly Shin's style, but with extremely catchy guitar driven licks, rather than a lyrical focus. With hand-claps and a Zooey Deschanel stand-in with not much more than a tambourine, their songs were upbeat and had a slight surfey vibe combined with some wonderful harmonies. The five piece appeared no stranger to live performance, and played very tightly as a group, both guitarists feeding off each other with each change of pace. Either I recognised a few of the songs or they were the type of tunes I could easily get stuck in my brain.

Despite my keeness for Pulp, I was happy to hear more and I am keen to check out their catalogue. But OMG THEY FINISHED IS IT PULP TIME YET?!

As I waited with the crowd (only one person from the front, HUZZAH), in immense anticipation, a screen hiding the unlit P U L P neon signs began to sport some green lasers projected on to them, forming words asking us questions such as "WELL, ARE YOU READY?" "DO YOU WANT TO GO OUT WITH ME? OKAY, MEET ME AT THE BAR" "DO YOU REMEMBER THE FIRST TIME?" and "WOULD YOU LIKE TO SEE A DOLPHIN?".... dolphin cartoon ensuing. The questions were mostly met with excitable cheering and were a nice little intro to the set... but by the last one I was a bit over the novelty and just wanted to see the band come on.

Soon, as promised, the opening chords of "Do You Remember The First Time" began, and the neon sign lit up behind the screen. As the music built up, the screen awkwardly fell down (I assume it was to come down at the beginning of the first chorus in one easy swoop! But life.) revealing Jarvis, Russell, Mark, Nick, Steve and Candida in all their glory. Large band.

As expected, I could not fault the performance of one of their best songs... They immediately sounded amazing, guitars echoing and drums pumping better than on record, and Jarvis crooning like he was still anticipating the year 2000. After a fantastic opener, Jarvis had a little chat with us about the weather, and on they went again. Not only did the frontman add a healthy bit of banter in between each song, but it was exceptionally difficult to tear your eyes off him during each song.

watch that maaannnnn

He was so involved with every word, every syllable, and every beat with full energy, bending and shaping hisbody in time with the music like it was his life force. At the end of a few of the songs, he seemed to dramatically collpse in a heap; as if putting so much energy into each movement was completely exhausting. Despite this tiring, his humour and charm did not fade a second. He is one of those fantastic frontmen, who despite his 50+ age (to the shock of some concertgoers), has you in the palm of his hand, totally wanting to succumb to his in your face sex appeal. All he had to do was take off his jacket and tie to get the ladies screaming, which he found quite amusing.

Ladies, please.

With help from the exceptional guitarists, synth, and strings at some lucky moments, he painted a complete picture during each song, drawing you into the stories, moods and emotions... During "F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E." he took you right there to the core of that awful but awesome feeling (called love), climbing up on the stage during the appropriate verse (see pic below), and jumping up and down like the world has rightly gone mad during the explosive chorus. I was soooo happy to hear "This Is Hardcore", one of my favourites, and Jarvis and the band took you through those dark dirty fantasies as portrayed in the lyrics so that by the end of the song you feel like you've gone through it, leaving you a bit rough, overwhelmed, and a little guilty. "Sorted for E's and Whizz" was introduced with Jarvis deciding that their smoke machine was actually pumping out amphetamine gas and we were all about to feel a little strange. During "I Spy", he stepped down to the front audience to shine a green spytorch into the crowd, as he sang to them into the microphone (naw not me.) Afterwards he shared his amusement that one of the ladies he had pointed the torch to could only ask (in a put on ridiculous voice) 'Are you gonna play Babies!? Are you gonna play Babies?! ' which was his introduction to "Babies". Ahhhhhh a definite highlight, and probably my favourite song.

"So what do I do? I've got a sightly sick feeling in my stomach... like I'm standing on top of a very tall building..."

"Common People" was an ultimate crowd pleaser and everyone sang their hearts out (eh, anything could have been going on onstage and they would have been satisfied). But what exactly do you do for an encore? "Like A Friend" and "Live Bed Show" saw us out, with a personal highlight "Misshapes". My fist got a bit pumpy there, sorry audience. I would have liked to hear "Party Hard" as I heard they did in Melbourne, as well as some "Razzmatazz", but really, even the songs I'm not as keen on were absolutely excellent tonight, and those I more passively enjoyed (e.g. "Bad Cover Version" and "Sunrise"), were so much more appreciated after their on stage performance.

Everything about the show was executed with extreme vibrancy. It was more than just a concert, without needing anything more than a fabulous frontman, brilliant musicians, and okay.. a little bit of lighting for effect.

Maybe they are only back for the cashies, but they look like they are having the time of their lives and would happily be doing this for free. Jarvis may have always been a skinny odd chap, and getting on in age, but just like Bowie, he still absolutely shines with sex appeal, rockstar presence, and that special x factor you can't quite put your finger on.

It has been a pretty good year so far for international live music, and this one takes the absolute cake. I really don't know how I can fault this performance, but I'll give myself room to move.

9 and a half flung knickers out of 10.

That happened too. No, they weren't mine.

Ball Park Music (with City Riots), Alhambra Lounge, 23rd July, 2011

*DISCLAIMER: Photo-less blog right here. You people do not deserve shitty blurry iphone pictures when I forget my camera at gigs. And for an amateur gig blogger, I should know better than to forget my camera at gigs*

*FOREWORD* Maybe I'm old and getting cranky, but for fucks sake, jumping around in a large circle with your missus so that your bodyparts continue to hit me and everyone else around you, is going to make me hate you so much that the hate will penetrate your skull and cause you neural damage. Just FYI, have a nice day.

Ball Park Music are a Brisbane band making it pretty big in the local and national scene, particularly amongst Triple J's audience (not that I listen to any other station besides it and 4zzz). It's hard to avoid their biggest songs at the moment "Rich People Are Stupid" and "Sad Rude Future Dude", both on high rotation, and both with a catch bordering on TOO infectious.

I checked them out at the Alhambra Lounge a week ago, a place I've never ventured to for live music, but really only dancing (being one of the few non-'r&b' or trance clubs). I was interested to see how the night would play out in this venue. The stage was set up parallel to the usual DJ stage, and I must admit I found it difficult to see anything, and the passage from the door to the toilets became a problem as it was in a prime viewing area. Nonetheless I managed to enjoy the gig, despite the crowd wanker that exists at every concert (see foreword). I got in just in time for most of the Adelaide band City Riots' set (having sadly missed Millions), which was fairly catchy and enjoyably rocky. I will have to listen again to see if any of it really sticks, but myself and the rest of the crowd were pleasantly amused to be treated to a cover of Springsteen's "Dancing in the Dark", as their last song. Apparently someone from Drawn From Bees joined them to play it, so hooray for Brisbane indie crossovers.

Ball Park arrived with a full crowd eager to hear their set. Frontman Sam was quite the enigmatic leader, introducing each song with biting wit. The rest of the band members shared his enthusiasm which made for an xplosive, tight set, energetic and engaging. It's refreshing to see, amongst the 'please take us seriously' indie bands out there, a band that really just wants to let loose and have a bit of fun; are not here to change our perspectives or make us think too hard, but here to entertain, make us dance, and also throw a few sympathetic situations out there we can all relate to easily. In this way, in their lyrics and melodies, they have a slight Custard feel about them. Perhaps Sam Cromack is the new Dave McCormack? Whoah now Steph, lets calm it down a little.

But really, what a local band needs to get places is something to get people to take notice, and Ball Park Music definitely have that with their frontman. The guy even smoked his own moustache in their last video. Sam's vocals are strong and effortless, and not affected a bit while tossing himself into the crowd for a surf on multiple occasions. Gig buddy and I were stunned with his ability to carry a tune and lyric without a hitch despite being snatched and passed between drunken gig venturers.

I have to admit I much more enjoyed the other songs away from their two big hits at the moment; mostly due to overexposure. They had some great quieter moments too, showing that they do have range and it doesn't all have to be in your face grunge pop. And just to mix it up, the band impressed me with their fun cover of "Peaches" by the Presidents of the USA, getting the crowd singing along with laughter. As they closed with "Sad Rude Future Dude", it was extremely hard not to bop and sing along to it, which goes to show, even if you've had enough of something, it can still be enjoyable.

It's probably still early days for Ball Park Music's unleashing onto the world, and it's clear that they have a long career ahead of them, especially if their live show is anything to go by. Their music is nothing new, spectacular or creatively out there, but it's good stuff, and a whole lot of fun, and we need more fun in our lives if you ask me.

7 and a half hair cigarettes out of 10.

Mr Maps, Hazards of Swimming Naked, and Screens, The Zoo, 9th July 2011

Hazards of Swimming Naked

I've spent the last few weeks in a complete Roxy Music/ Brian Eno haze, for two reasons: One, I bought the first two Roxy Music albums (yes, a little late considering I have a review of their concert on this very site), and Two: Just after discovering both of these to be MOTHERFUCKING MASTERPIECES, I finally watched Velvet Goldmine, a film that to me is a sort of parody tribute to Bowie, glam rock, and all that whole time of sexual liberation and glitter. About half the songs in it are Roxy Music or Eno or something else Eno produced (but NO BOWIE- as he refused to put his music to the film, which I think was secretly a blessing). Hence it was a perfectly timed viewing, and a great backdrop to becoming completely obsessed with these songs. I so love feeling completely immersed in something that has been around so ong that there is even more to explore, and I'm very happy to graduate from 'casual fan' to having my life much enriched by Roxy Music music.

Before all this however, I went to the Zoo on a Saturday night to check out a few local bands on a friends' recommendation, Mr Maps, and Hazards of Swimming Naked. I was not familiar with either band nor the whole post-rock genre, so I was keen to hear something a bit out of my usual comfort zone (that wasn't an R&B club) but also a little nervous as to whether I would enjoy it.

Turns out I needn't have worried. Screens opened the Zoo, flanked by synth, guitar, drums, and a few vocalists. The female vocalist of the group had an amazingly haunting voice and style, which complemented the eerie, haunted, almost numetal songs. Her moans hovered over the top of rolling drums and screeching guitars as if a ghost coasting through a warzone. No really. The whole effect was pretty interesting, and while a lot of the songs sounded similar to me without a standout song, I really enjoyed them, particularly during soft build ups to very satisfying hard-ish rock crescendos.

Next was Mr Maps, which involved a cellist, guitar, piano and drums. I compared them a little to Mogwai, the closest I've come to anything so drawn out, instrumental and epic. But really that comparison is unfair, as they were so much more than a band that sounds a bit like another band. Their individual bits and pieces combined to create a mood in each song that surprisingly drew me in, and while it was a style of music I don't normally seek out, I wasn't bored with it and very much entertained. As a whole, the set was very tight, and lovely from start to finish. My only criticism would be a technical one, which is that you could barely hear the cello, which remained just a faint accompaniment in the background.

The music was so interesting without vocals, i wondered what it would be like with some lyric attached. Although I figured it would probably ruin the effect, and take the focus away from the intricate arrangement.

Hazards of Swimming Naked was the last to play, and it appeared that everyone in the audience knew someone in the band. They were also quite excellent; while more drawn out and harder than Mr Maps, they shared that same vibe. I guess that's post rock! I felt similar about Hazards of Swimming Naked as I did with Mr Maps, which also worked together to create amazing sounds and a penetrating dark vibe. I have to admit however that I wasn't quite as drawn in and entertained... I think this was partly as the music was a bit more hard-rock and teetered dangerously on my threshold for that kind of music. Nevertheless I could still appreciate it for what it was and I can definitely see, if that's what floats ones' boat, why it floats. I was pleasantly happy with my enjoyment of all 3 bands, and while I haven't fallen completely in love with post rock, I have become more interested in it as a genre and would see them again (particularly Mr Maps).

I have listened to a bit more Mr Maps since the gig, and I get the feeling that to really appreciate them, you need the live experience. While it's quite intricate music, it easily falls into the background if there is nothing to visually attend to you. This is the way I can sometimes feel about musical acts such as M83 or Panda Bear. I shall keep listening however, because it is very pleasant, and a lot of music I initially dismissed as simply ambient, did begin to stand out to me and engross me later on.

Screens, Mr Maps and Hazards get 7 out of 10 distortion pedals.

Next: all the other reviews I have procrastinated on posting. Stay tuned!