One of 2024's most exciting and infectiously listenable releases was brought to life this month by musical masterminds GUM (Jay Watson) and Ambrose Kenny-Smith – two bona fide legends in the Australian psych-rock scene.
By fusing the sonic palettes of their respective bands – Pond/ Tame Impala on Watson's side and The Murlocs/ King Gizzard and the Lizard Wizard with Ambrose – it would have been a fool's errand to underestimate how highly anticipated a live rendition was.Melbourne, for one, was spoiled with two headline concerts, the second of which took place at Richmond's The Corner Hotel last night (10 April).
Openers Heavy Moss, fresh off the back of their debut live performance the night before, warmed up the crowd with a focused set drawn from their newly issued debut release, 'Dead Slow'.
The band's sound – somewhere between the rousing futurist synth of Vangelis' 'Blade Runner' soundtrack and The Black Keys' bluesy pop sensibility – was bolstered by the foundational bass playing of Bec Goring and the keyboards/ synths led by the band's apparent frontman Lucas Harwood (also of King Gizzard).
On the song 'Melt', that futurist soundscape mutated through atmospheric changes, keeping the audience on their toes and watching closely – much like the band members themselves as they navigated some of their earliest shared stage experiences, eyes locked on Harwood for cues as the sound progressed.
Heavy Moss - image © Mike Lockheart
The Corner Hotel's motorised red velvet curtain shrouded the stage during changeover. Come showtime, it smoothly peeled back to reveal Watson and company prepped and ready, with his sleek silver Fender Jazzmaster reverberating wildly with effects-laden juice.
They opened with the bombastic title track from their 2024 release 'Ill Times' as the PA quickly filled to the brim with gritty, blues-infused tones that cut right through the mix – the raspy, emotional, and unmistakably unique voice of Ambrose Kenny-Smith reached straight to the core.
The duo's sonic experimentation was brought to life with some of Kenny-Smith's most therapeutic and cathartic lyricism, much of which was written in response to the passing of his father, musician Broderick Smith (see album opener 'Dud').
Catchy, poignant, and at times just damn-good fun, the sound was packaged with a glossy, distorted pop shimmer, soaked in the pair's shared affinity for classic rock, soul, and funk.
'Emu Rock' saw the band dive into full rock & roll territory, with guitars at the forefront. The simplistic lyrics embraced a less-is-more ethos: 'Keep it simple, don't overdo it / Dumb it down if you can't wrap your head around,' but contrasted beautifully with the over the top, epic intro that allowed the band to stretch out and jam.
GUM & Ambrose Kenny-Smith - image © Mike Lockheart
Teased well ahead of release as one to look out for, the track delivered far beyond expectations in a live setting. The entire album was faithfully recreated, and then some, but it still felt surreal to witness it live. Watson's guitar chops and tone were equally massive, highlighting the intricate guitar work of the album.
'Emu Rock' transitioned into a powerhouse cover of Harry Nilsson's 'Jump Into The Fire', a shift that felt almost inevitable, with Kenny-Smith's vocals breathing fiery new life into the classic barnstormer.
Tireless lungs howled through the mic amidst frantic bursts of harmonica on 'Snow Angels', a deep cut from the newly released deluxe version of 'Ill Times'. Much like 'Telescope', it hit hard live, with guitar and keys synchronising more tightly with each reprisal.
The band's first release, the 2023 Record Store Day single 'Minor Setback', now felt like a timeless classic beloved by the crowd. Performed with synthy swagger and massive sing-along energy, it perfectly encapsulated the feeling these two had captured lightning in a bottle.
GUM & Ambrose Kenny-Smith - image © Mike Lockheart
They closed the main set with 'The Gloater', taking a turn into serious electro-jam territory, reminiscent of '90s acid house in London but infused with glorious soulful crooning by Watson and Kenny-Smith.
Their harmonies were on full display. All three members ended the song and set while hunched over their keyboards, generating a swelling vortex of melody and electronic sound to glorious effect.
With the demanding touring and release schedules of the duo's other projects, it was a miracle this tour even happened – but it was equally hard to gauge whether fans would be lucky enough to hear more from these formidable performers, either on record or on stage. Run, don't walk, to catch the last few shows of this unforgettable tour.
More photos from the concert.
