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The Zoo - Sat Aug 29
For a while in recent history, folk from the rest of the country have been reveling in a valid argument that Australia’s biggest city has also become the most boring. This may still be the case in many regards, but tonight’s line-up is a boot in the face to the “Sydney doesn’t have any impressive live bands” theorists.
Philadelphia Grand Jury should be used by Sydney’s tourist commission as the foremost proof that innovative and ridiculously fun culture still springs from that town. Bespectacled and ginger-bearded singer/guitarist Berkfinger and bulky, bushranger-faced bassist/keyboardist MC Bad Genius aren’t the usual physical representations that leap to mind from the term ‘buzzworthy indie band’, but with their pre-recorded ‘tween-song banter and tongue in cheek intensity, there’s little of cliché in this band. Joined by temp Emergency Ivan on drums, the Philly Jays don’t seem to be at their manic peak for much of tonight, but their mix of radio-flogged melodic belters and slower soul pop numbers that could be Little Red still simmers engagingly. However it’s not until the final track I Don’t Wanna Party that everything hits boiling point, with five minutes of sweaty, instrument-swapping, playing-the-keyboard-with-the-neck-of-the-bass mayhem that makes for the band’s greatest demonstration of unleashed, screaming, honky tonk party rock. Everyone agrees it’s crazy good.
It’s an odd decision to have Yacht Club DJs play between tonight’s bands, especially since the off-the-hook party vibe just plonked on us by the Philly Jays is brought back to unimaginative party mediocrity that makes ducking outside for a ciggie enticing, even for non-smokers. Two good looking dudes, one shirtless, play hits of the dance, indie and probably-ironic pop variety, yelling sexy and oh so crazy DJ things to the polite crowd. When they announce they’ll be playing the GPO later, it’s the only part that makes sense.
Expectations are rampant for the newly relaunched Dappled Cities off the back of their acclaimed Zounds record and a talking-point Splendour set, and things start magnificently. Clearly loving the embrace of their mass-indie acceptance, the Sydney five-piece roll out tracks from Zounds with nary a verse-chorus-verse structure to be heard, and the experimental side to their guitar-heavy pop works in their favour. Drummer Allan Kumpulainen stands out early, making the most of the oddly syncopated beats and time changes, while Tim Derricourt’s lead vocals often blend as another instrument. It’s an enthusiastic start by a band on their mark, but by around the half hour mark, the extended jams get a little samey. Perhaps realising this, older tracks appear such as Fire Fire Fire which despite being mired in guitars has a clean Cut Copy sheen, and Holy Chord which builds from its a capella beginnings into a jaunty melodic rocker. While the colour was fading, the brightest is saved for last, as the encore starts with footage of Dappled Cities’ recent kids songs for the Disney Channel, and compounds with everyone’s current favourite The Price, complete with awesome Christmas light suits. Throughout tonight, the crowd has swung towards the disciple end of devotion, spurred on by Derricourt’s seemingly genuine calls that Brisbane is always his favourite town on tour. It’s a love-in, but much like a blockbuster movie that tries to cram too much in, I can’t help but think the night would have been improved by cutting about 15 minutes mid-set.
SIMON TOPPER
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