Photo: Justin Edwards

Ed Kuepper pensively smokes a cigarette as a healthy crowd streams through the Gallery's entrance. His eyes are focussed across the river, toward the city lights. Perhaps he's thinking of the handful of shows that his Laughing Clowns have played since their reformation a fortnight ago at the Mount Buller leg of the All Tomorrow's Parties festival; their first full-band performance since 1984. En route to the venue, I'm nervous. Rarely do I approach a show with such trepidation: the Buller set was the apex of a weekend crammed with remarkable performances. Can Kuepper and his fellow musicians match my expectations? This question bounces around my head as we politely witness original Clowns member Bob Farrell toil through a languid half-hour split between piano, saxophone and seemingly stream-of-consciousness sing-song rants.

My apprehension is soon proven baseless. Kuepper and his four bandmates address the hundreds-strong audience with their unique saxophone-led rock style, which is augmented by keys and double bass. Their handful of studio albums are equally represented: The Flypaper, Nothing That Harms and Collapse Board are highlights, the latter of which Kuepper ironically cites as the "most depressing song in rock and roll", while surrounded by an art exhibit named Optimism.

Immense-sounding signature tune Eternally Yours is a flawless set closer, but trust a jubilant hometown crowd to demand the band's first-ever encore. Louise Elliott's scorching saxophone melodies - equal parts soothing and scornful - are integral to the band's timelessly electrifying sound: she trades sax for flute during New Bully In The Town, before Kuepper opts to close with Saints-era track Winter's Way. Venue curfew is enforced; bassist Biff Miller is loathe to part with his instrument, but the five members reluctantly leave an equally reluctant crowd. Saxophone melodies are whistled long and loud as we disperse, smiling into the night. Classy, Clowns.

ANDREW MCMILLEN

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