There’s something about the atmosphere of final tours that can’t be felt anywhere else. It’s as if the transience of the moment tugs at every soul in the room, and the appreciation is vast, even to the extent of silencing the audience completely. Whitley’s final solo gig in Adelaide was no exception. Every eye was wide open, glued to the stage, and every song concluded with rapturous applause better suited to a teenage heartthrob. Opening acts Seagull and Gossling were met with similar affection from the audience, particularly during Gossling's 'Days Are Over', which has been flogged on Triple J of late.
For someone who has played at Falls Festival and around Australia fairly regularly since 2008, it's a surprise that Seagull lacks the basic ability to connect with the audience. Sure, singer/songwriter Chris Bolton is an introverted artiste, but it would be nice to have heard a bit more from him than an underwhelming 'Hi, I'm Seagull.' That said, his classically-influenced folk, fragile voice, and charmingly frank lyrics are a formula for indie-pop success. Too bad his live show lets him down.
With the voice of Julia Stone and a jazzy piano style comparable to Missy Higgins, Gossling is not to be missed as the next big thing in Australian folk/pop. What makes her stand out, however, is her live performance. See her live, and you can't help but follow her into a pastel world where everything is beautiful, yet simultaneously depressing. (My boy likes her nearly as much as Regina Spektor - that's the greatest honour you could get from him.)
The last time I saw Whitley, it was nearly four months ago at Laneway Festival, where I was at the front a crowd of about 40 people at Fowlers', and everybody else was at the other stage waiting for Mumford & Sons to play. It's no surprise, then, that his solo tour far exceeded previous expectations. With a crowd that was clearly lapping up every syllable that left his mouth, Whitley seemed confused as to whether the show was a gig, or a comedy act punctuated with a handful of great songs. He had no setlist, and not one media outlet was invited: what was left was an unsurpassed level of intimacy. At the end of each song, the crowd was invited to suggest what he should play next. Suggestions were quickly yelled out, to which he would occasionally respond: 'I don't feel like playing that.' He even interrupted the show with 'question time', like Formspring, but for people with lives.
It hasn't even been three years since Lawrence Greenwood released his first album under the moniker Whitley. With palpable talent and an irresistible sense of larrikin humour, it's hard not to be left awestruck by the man who is choosing to leave music behind when he could have audiences around the country wrapped around his little finger. During question time, one member of the audience asked, 'What are you going to do when you stop being Whitley?'. In an answer that sums up his signature wit, he replied, 'I'm going to start being Lawrence Greenwood.'
PS: Don't know what the hell I'm talking about? Here are my recommendations:
'Killer' - Whitley (Honestly, there are about a dozen tracks I could recommend, but I think this one met the most commercial success, so it's definitely worth a shot.)
Download three tracks from Gossling's EP on Triple J Unearthed (They're legal. Support great music!)
Seagull's Myspace has heaps of tracks - I think 'End Could Come' really showcases his voice the best. Plus, you can't go past a song with a lyric like 'the waiters put pubes in'.
No comments:
Post a Comment