On paper, this is a double header. Australian '90s indie scene stalwarts Eskimo Joe on the same bill as Alex Lloyd.
Or is it the other way round? Either way, the Brisbane fans answered with two sold-out nights at The Triffid (8-9 May).
The tour is the 20th anniversary celebration of Eskimo Joe's album, 'Black Fingernails, Red Wine'. It feels like only yesterday the triple j darlings upped their own ante with a follow-up album bigger than their much loved and awarded 'A Song Is A City' (2004).
Time flies when we're all having fun. The shoulder-to-shoulder crowd (9 May) is a mix of serious fans (looking at you in the front row with lyric tattoos) and the 1990s generation of indie music lovers with fading Celtic tattoos.
Alex Lloyd is a troubadour. He's run the same timeline as Eskimo Joe, both releasing EPs and debut albums in the late '90s. Both are awarded, still have frequent airplay and have seen as many downs than ups over the years.
Lloyd's story is filled with such trials and tribulations that he pulled away from the spotlight for almost a decade. Returning to touring around 2016 has seen his confidence and songwriting return.
When he takes the stage, the room fills with adoration for someone who soundtracked a very good chapter of life. It started with a humorous touch as Lloyd realised he'd brought his non-electronic acoustic guitar onstage, sans strap. He giggles and banters with the audience as the correct instrument is quickly supplied.
Alex Lloyd - image © Chris Searles
He presents a small collection of hits, starting with 1999's wonderful 'Black The Sun'. His voice is excellent and has a tone that can only ever be Alex Lloyd.
A quick rendition of The Beatles' 'Blackbird' shows off his guitar skills, followed by Leonard Cohen's (but closer to Jeff Buckley's version) 'Hallelujah' to show his vocal skills.
His super-mega-ultra hit, 'Amazing' has the crowd singing and swaying to every word. It's a song undoubtedly engrained in our national psyche. I challenge anyone to not hum the chorus when it comes on the supermarket radio.
As a couple of cheeky crowd requests sees him attempt to remember the chords for a few bars, he switches back to normal programming with 'Slow Train' and the fantastic 'Green'.
Lloyd is loose and endearing onstage, fully embracing the moment and the adoring crowd in front of him.
Eskimo Joe started as a cheerful indie band, regularly appearing on the legendary ABC live music show 'Recovery', and constantly riding the national festival circuit. Early EPs and albums showed what songwriters they were with immediate classics such as 'Sweater', 'Wake Up' and 'Who Sold Her Out'.
Their aforementioned 2004 album, 'A Song Is A City', received multiple music industry accolades and nominations, firmly planting the Perth-based trio as one of Australia's most formidable bands.
2006 saw the release of 'Black Fingernails, Red Wine', an album that pushed them beyond the triple j set and into mainstream ears. Garnering the band even more recognition, their aesthetic evolved and the spotlight followed.
Eskimo Joe - image © Chris Searles
The band fills the stage with original trio: singer/ bassist Kav Temperley, lead guitarist Stuart MacLeod and rhythm guitarist Joel Quartermain out front. Paul Keenan (drums) and Timothy Nelson (keys) round out the touring band.
They launch straight into album opener 'Comfort You', setting the course for a sequential track-by-track set list. With its iconic piano riff, the song whisks fans back to the album as if they were hearing it for the first time. Cheers and claps rolled through the song until the final chord.
'New York' is next, followed by the title track 'Black Fingernails, Red Wine'. The spectacularly quiffed Temperley takes the crowd on a journey discussing moods, events and locations that influenced each song.
Like any band, writing can be filled with a thousand hurdles and two epiphanies. Learning about each track like a live documentary reveals their process with some humour for good measure.
Eskimo Joe - image © Chris Searles
The seeds of 'London Bombs' were planted on a backroom piano in North Queensland, just before a show during their 'A Song Is A City' tour. They'd just learned of the London Tube attacks and were trying to contact friends to see if they were okay. Stories like this bring gravitas and new meaning to lyrics we've heard multiple times.
The epic 'Sarah' begins with a dramatic opening as Temperley softly cries "emergency" over brooding keys. It's a rocker of a song that never seems to age. A chorus influenced by classic '80s anthems and attitude to match.
We learn the band were always enamoured by the likes of INXS and Icehouse, and the mystery they somehow projected for Australian bands. This was the through-line for writing 'Black Fingernails, Red Wine'. It shows in songs like 'Sarah' and why the album traversed the indie crowd into the mainstream.
The band is tight and well versed on their instruments. The banter and interactions start to feel a little rehearsed, taking the gloss off what felt impromptu through the set.
Eskimo Joe - image © Chris Searles
The closing songs are reminiscent of Radiohead, The Kooks and other English bands of the time, but didn't most bands in the 2000s?
An encore is expected and it's not long until the band is back onstage. A selection of tracks from other albums see the night out. 'Foreign Land' from 2009's 'Inshalla' (a criminally underrated album), recent release 'The First Time' and 'Love Is A Drug' from 2011's 'Ghost Of The Past'.
Rounding out the night is the always iconic 'From The Sea’ (albeit without the iconic metronome introduction, oh well). Its chorus "hello, hello, oh hello" will never not be a crowd favourite.
Alas, the time has come to say 'goodbye, goodbye' and the late set comes to an end.
Eskimo Joe - image © Chris Searles
Eskimo Joe are undeniably legends of the scene. Although the focus has been on one album, it's easy to forget the depth of songwriting the band has produced.
Melodies for miles and sing-along choruses for centuries. Many bands would be happy to have written just two tracks of such quality.
To have another Australian icon, Alex Lloyd, perform on the same bill is a true blessing. The crowd exit and know they've just been spoiled. Gigs like this must be protected at all costs.
