Photo: Justin Edwards

With immense attention on The Go-Betweens in recent times, The Four Ages Of Robert Forster is as many consecutive nights for Forster to feature his own material, including his three solo albums performed in their entirety, accompanied by the original recording bands. This week is an opportunity for the dapper songwriter to step out from the formidable darkness of the death of his creative partner and friend Grant McLennan, and into his own spotlight, although his comfort with this is not immediately apparent.

Forster seems slightly grateful as he welcomes his audience to Wednesday’s performance of 1990’s Danger In The Past, apologising that he won’t be signing records until after Friday’s show, lest the Brisbane flu clutch him before then. However, this initial discomfort subsides as he introduces the reliable band with whom he recorded in Germany: Bad Seeds Mick Harvey on guitar and keys, and Thomas Wydler on drums, with Go-Between Adele Pickvance filling in for the hands-full Harvey on bass. Highlights range from the fluid beauty of The River People to the darker yet carefree Dear Black Dream, and after only nine songs, an encore is most welcomed, including a breathtakingly supple version of Nick Cave’s Lime Tree Arbour. Forster seems acutely aware that the majority of the showcase is still in front of him, but tonight serves as an excellent warm-up gig.

The next evening is Calling From A Country Phone, Forster’s 1993 album and a recorded document of his early ‘90s return to Brisbane. The album was even recorded at Sunshine Studios, where Go-Betweens recorded their first singles and The Saints recorded (I’m) Stranded. As with the previous show, Forster begins with a spoken-word description of the events and inspirations which resulted in the final album. With the musicians from the original record present, including guitarist David McCormack, drummer Glenn Thompson and multi-instrumentalist John Bone, the line-up is completed by bassist Adele Pickvance. The group opt to perform the album not in its running order, but in the order that “feels right on the night”.  McCormack’s country-tinged slide guitar is a major asset to the group’s sound, and the performance takes the audience back to early ‘90s inner city Brisbane. The dusty-booted Elvis chug of 121 and the wonderful Falling Star are particularly evocative moments. Forster is touchingly humble about his abilities – after the sparse, intimate Girl To A World, he tells us he was nervous about performing the song. Then, off mic, he asks us “Was it all right?” A warm, receptive audience responds in the affirmative. An encore including Go-Betweens classics Head Full Of Steam (proof that Grant didn’t have the monopoly on great catchy pop songs in the Gobies!) and The House Jack Kerouac Built makes for a simply perfect finale.
We’re back for more on Friday, with a full performance of 1996’s Warm Nights, the result of Forster working in London with producer Edwyn Collins.  Forster seems a little more at ease tonight, incorporating his trademark straight-faced shimmying into the performance. He’s also a magnificent storyteller, hilariously describing the inspirations behind Snake Skin Lady and Rock ‘n Roll Friend. His self-deprecating humour is at its best tonight, deadpanning just before Jug Of Wine that “my manager hates this song. He describes it as six minutes of nothing”. The group, just Forster, Thompson and Pickvance, are in cracking form throughout, I Can Do and Cryin’ Love sounding particularly triumphant. There are less of the country elements that characterised the previous evening, the trio tonight creating a more angular, Velvet Underground-inspired sound. The encore includes a wonderfully fun version of Talking Heads’ Psycho Killer and latter day Go-Betweens gem Surfing Magazines.

Photo: Justin Edwards

MATT THROWER & SIMON TOPPER

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