Cut Copy’s early discography is the epitome of electronic music in the 2000s.
Take their most successful single ‘Lights & Music’, for example; distinct, back-up vocals, computer-generated clapping, layered synths (though less psychedelic and more structured than the kind swamping current radio waves), the track distinctly SOUNDS like 2007/ 2008, though has admirably maintained its sparkle.
I was curious to see how or even WHETHER the quartet would adapt on the modern stage as they entered at The Met (Brisbane) on Thursday (19 January).
As a sucker for a lengthy, instrumental introduction their choice to open the set with ‘Need You Now’ was one I approved of; its shimmery beginnings built plenty of anticipation as it shifted into following track ‘Black Rainbows’.
My personal pick from their 2017 record ‘Haiku From Zero’, I was almost disappointed it surfaced so early; the piece is brilliant, infinitely uplifting and cleverly produced, incorporating several elements (including an excellent bassline and twanging guitar riff) without being overbearing.
Harmonies shone in the ever-melodic ‘Where I’m Going’, before 2017 stunner ‘Airborne’ solidified the performance’s strong start. It was back-to-back ‘Haiku From Zero’ with ‘Living Upside Down’ next, Cut Copy then juxtaposing the newbie nicely with an older release that alternatively starred the keyboard, ‘Free Your Mind’.
Warm and bouncy ‘Counting Down’ preceded 2004 classic ‘Future’, ‘Pharaohs & Pyramids’ then venturing deeper into dance music territory.
‘Hearts On Fire’ asserted its relevance in contemporary music, despite encompassing those 2007/ 2008 electronic production values; newbie ‘Standing In The Middle Of The Field’ sounded particularly tribal in comparison, ‘Take Me Over’ next picking up the pace.
Cut Copy closed with funky number ‘Out There On The Ice’ though promptly re-emerged to perform a two-part encore: "We’ll play a couple more, but only because you asked so nicely," they announced, diving into the disco-influenced ‘Meet Me In A House Of Love’ before rewarding the crowd with fan-favourite, ‘Lights & Music’.
Very few would be foreign to the frustrations of conducting research prior a creative pursuit; an innocent hunt for some ‘inspiration’ can so frequently lead to a head full of unoriginal ideas.
What’s interesting about Cut Copy is that despite growing with a generation relatively centred around the birth and development of electronic music, the band have always seemed quite unaffected by their surroundings.
UNAFFECTED in a sense that while they’ve NEVER lacked fresh content, that content is ALSO 100 per cent Cut Copy branded. These boys have consistently stuck to their ‘sound’ instead of being overly-influenced by fellow musicians in the genre, or moulding themselves to fit fleeting trends.
Though ‘stuck to their sound’ should in no way take from their incredible progression between records.
‘Haiku From Zero’ is perhaps their boldest release yet, bravely branching out and incorporating more traditional rock instruments, packing a punch when paired with their classic synths.
While at times during the set I found their efforts to ‘hype’ the audience slightly awkward, I did admire their energy and enthusiasm.
Ultimately, however, the most admirable aspect wasn’t how or WHETHER the quartet adapted on the modern stage. It was the way modern electronic music has clearly adapted around them.
