As the monotonous rain falls in rhythmic thuds atop my umbrella, streetlights reflect on the glistening footpath as I approach the majestic Brisbane's Princess Theatre, in Woolloongabba.
At the entry I am overcome with an old romantic movie vibe and a memory of Gene Kelly's voice singing: "I am laughing at the clouds so dark above, the sun is in my heart and I am ready for...". Enough I yell internally as I pull the plug on my inner jukebox.I am at a theatre but am I out to watch a classic musical – heck no! Not tonight (25 February) I am ready for a more discordant contemporary experience – Springtime!
The contrasting and flourishing musical experience that will be delivered by Gareth Liddiard (Tropical F... Storm, The Drones), Jim White (Dirty Three, Xylouris White) and Chris Abrahams (The Necks, The Laughing Clowns) has me excited.
As I enter the heritage-listed establishment, I note the art-rock project wizards are conjuring a crowd that is diverse in style, age and demeanour, rather than a homogenous crew.
From the few that I engage in chit-chat, they all share the same inquisitiveness and eagerness to get among the melodic and dissonant offerings that Springtime's experimental jazz led art-rock is going to bring us.
Helen Franzmann aka McKisko (Mess Esque) is support artist tonight in place of an unwell Grace Cummings. Kudos to Franzmann for being at the ready. I am not surprised there are Franzmann fans among the gathering crowd given her other musical involvements as they welcome her with a warm and embraced curiosity.
Quickly punters fall into a deafening silence as Franzmann commences her solo performance from behind a synth that she also uses to layer vocals and sounds during her set.
Helen Franzmann - image © Clea-marie Thorne
Many songs in her set are also played with a guitar which she either strums or picks and once even goes off skiffle with a maraca! Given the experimental and improv nature of the headline act tonight, why not do a little string hammering courtesy of a sand percussion instrument, yourself. So cool!
Franzmann rips opens the silence in the room with 'The River' from her album 'Southerly'. I'm impressed with the dreamy, lulling and haunting vocals Franzmann uses interchangeably during her set.
Photos from the show.
She is mostly quiet in song and I needed to listen hard, except when she deliberately seeks to break the lilt with some high, clear and bright folky tones. Perfectly executed I will add.
I am impressed with the set list of eight alternative-folk style songs which are intently consumed by the tranquil crowd. 'Arms Water' is my favourite, along with the final track (title?) that had me wading in watery, dark emotions right beside Franzmann, waiting to see if the current will bring us closer to another we have been missing. A uniquely beautiful song and a magical set.
There is only a short break before the Springtime super-group bring us their much anticipated tonal concoctions of provoking experimentation that lyrically deliberates accounts of destruction, demise, desire, and devotion in our lives and societies.
The Springtime material is credited to be crafted from or alongside the contemporary societal anthologies/ memoirs of Liddiard's Uncle, Ian Duhig (Robert Ian Duhig). From what I can glean, he is a British poet of Irish heritage who has worked with homeless people for 15 years, won a plethora of awards for his works that draws on contemporary issues and situations; he also has many publications under his belt.
Springtime - image © Clea-marie Thorne
Punters take to their seats as White moves to centre stage behind an exceptionally low drum kit with percussive tools close by his side. Flanking his right side is Abrahams behind a piano.
White and Abrahams are dressed in less casual attire than Liddiard who is taking to the stage left of White with naked feet and sporting a Super Mario Bros t-shirt – which reminds me of a Mr Bungle tune and I wonder if he is a fan.
I anticipate new material from the just released EP 'Night Raver' will be incorporated into the set list. Having only recently been introduced to this glorious cocktail of avant-garde jazz fusion, I apologise if I have to omit a couple of song titles from my recount along the way.
To ease me into the unknown onslaught I know is coming, I relish in the familiar sounds of 'Jeannie In A Bottle' from their self-titled album. This one I know to be crafted with the word smithing of Duhig.
Springtime - image © Clea-marie Thorne
Following this is a cover of The Drones 'Penumbra' from the new EP. The lads played more tracks from the Springtime album, including 'The Island', 'She Moved Through The Fair', 'West Palm Beach' or a version thereof (no surprise!) and 'The Killing Of The Village Idiot'.
I suspect that Springtime may have melded two or more songs through a jazz improv and therefore an identifiable set list of six songs, is more likely to be about eight.
A few of us in the crowd assumed the song introduced by Liddiard as 'Chris In D Minor' was meant as a tease or invitation to Abrahams to really get among the live improv of 'The Radicalisation Of D' that is on the new EP.
Abrahams' jazz fingers never fail us on the keys tonight and I love watching him knuckle roll over the keys playfully. I think I even see his elbow or forearm getting a workout across the ivories too, but it is hard to tell for sure.
Springtime - image © Clea-marie Thorne
White is dominating his kit with sticks and brushes to add stylistic percussive sounds and bringing the rhythm as needed with fluid execution of his hands and feet. Adding to that Liddiard's pipes are either grating or crooning to us the narratives. I am mesmerised as he makes his guitar whisper, cry and even scream throughout the set.
You can tell Liddiard relishes in all that is art-jazz-punk-rock and his steel-stringed tool of choice takes us on disaffecting adventures with short-lived spaces where we can take haven before being cast back into a harsh reality for the next leg of the journey.
I feel at times like I should be standing not sitting. Experimental music can significantly heighten the experience of a crowd as punters submerse themselves in the music while standing side by side creating a collective energy.
Springtime - image © Clea-marie Thorne
Being seated tonight, however, seems to preserve a diversity of experience among the audience which is leading to individuals enjoying a greater intimacy with the music and an ability to enter a personal confrontation with its tangents of sharp and harsh instrumentation turns more so than a direct and focussed interaction with the performers.
A number of punters who are seated with bodies held rigid as if held in rapture by the show are dotted between a healthy representation of gently nodding punters who give an occasional torso sway or heave in the up-tempo parts.
Tonight there is one rogue punter who is fixated on Liddiard's shoeless trotters. He loudly reminds us of his observation and opinion between song breaks as Liddiard stops to gulp down his ginger beer or impart some dialogue with the crowd. Now. Did I crack a smile when on the third mention, Liddiard told said random to naff off? Yes I did.
Despite the only irritant, the trio delivered a captivating set that was sometimes inviting and, at other times erratically alienating all the while being a welcome assault on our lug holes.
Springtime - image © Clea-marie Thorne
Their music takes you through a delicate wash of sounds to a heavy duty thrashing with a few rinses of everything in between before hanging you out to dry in a shellshocked state to reflect some more on the lyrical content that laced the notes.
Springtime needs to be listened to, then heard, then listened to some more. You will discover the blatant and hidden intricacies blossoming within the flawed genius that is etched into their recordings and breathing in the free form evolution of their live shows.
This is something you cannot just read or be told about – you need to experience it for a full appreciation to enable a personal evaluation. It is after all ART.
