It must be an exciting time for the members of Violent Soho. With the release of their third album ‘Hungry Ghost’, it now seems clear that this is a band on the cusp of greatness.
What an incredible few years Matt Corby has had. Returning from self-imposed post-Idol exile, he has patiently drip-fed songs over 4 years and five EPs to build up a huge fan base and more importantly, a huge amount of respect. This process seems to have left Corby confident enough to be himself and not pander to crowds. With little fanfare and even less acknowledgement given to the crowd, the show kicked off with a very atmospheric ‘Lighthome’ featuring Corby on guitar before he jumped over to the keyboard for an equally mellow rendition of ‘Made Of Stone’. Despite the fact this was the main act, much of the crowd continued to talk through these first two songs and the following, ‘Lay You Down’.
The Cat Empire returned to Adelaide to a sell-out Thebarton Theatre crowd who were ready to dance from the moment they arrived. Support act Tin Pan Orange (featuring Harry's wife ? As lead vocalist, knew what to expect and had the crowd eating out of the palm of their hand starting with the theme song from Round The Twist. Finishing up with Harry coming out and blasting away with his horn for the finale, they will have earned themselves some fans after tonight's efforts. It was over quickly though and on to the main act, The Cat Empire. Consummate professionals and well-travelled performers, this is a group you know what to expect from and who never disappoint. Tonight was no different.
For their third EP, The Preatures have put together another collection of fantastic songs and this time manage to translate more of singer Isabella Manfredi's smouldering stage presence to their tracks, balancing out the recorded charisma of the man providing their other lead vocals, Gideon Bensen. 'Is This How You Feel' kicks the EP off and is an impossibly catchy track that you can't help but sing and dance along to. Jarringly staccato vocals combine with purposeful guitar and bass work from Jack Moffitt and Thomas Champion and Luke Davison's reliable drumbeat to create a real gem, a poptastic rocking song that deserves more attention than it will get.
For their second album, Boy & Bear have tried to develop their sound, aiming for a record that is "more pop, less folk". By the end of the record however, it is apparent that someone forgot to tell them that 'pop' music is catchy and memorable. 'Harlequin Dream' is sadly devoid of anything as memorable as previous hits 'Feeding Line' or 'Part Time Believer'. Rather it chooses to wallow in mediocrity as so many other uninspiring folk groups do.
Anyone who doubts the effect acoustics and mixing has on a good gig need only have looked so far as tonight's support act Sincerely, Grizzly. Their gig the previous weekend at The Exeter was limited by the venue's sound which let down their energetic performance. The same could not even remotely be said about their opening set here.
British India's return to Adelaide saw them performing at the UniBar for what will surely be the last time. Their continued success, particularly on the back of new album 'Controller' has seen their fan base grow drastically, as was evidenced by their April show at The Gov. This show thus became a thank you to the fans who have given them such strong success and they didn't disappoint.
Buffalo Tales is the answer to the inevitable question that comes about 5 years after each season of Australian Idol: What happened to those guys? For 2008's season winner Wes Carr this is his attempt at life after Idol. A change in performing name and a return to his acoustic roots attempt to draw a line between him and the reality TV music contest he dominated but failed to achieve enduring success from.
You can't trust someone who's always happy.They might be lovely, they might be generous and kind but you can't trust them. There's always something unsettling, something not quite right, not quite believable about them and this unsettling feeling almost always leads to a disintegrating of any relationship with these people.
You've just escaped from a negative spiral, from under the thumb of an undisputed control freak and you're finally free to control the music you release and create the music you've always wanted to. What do you do then when despite your best efforts, your former bandmate still outperforms you?