Somewhat retiring from live performance in the early 2000s, Matt Johnson (the man, the band The The) resurfaced for 2018's Comeback Special tour.
However, this more comprehensive tour sees the band playing most Australian states for the first time in 35 years; since their expansive Versus the World tour in 1989.While other bands might be playing it safe by performing their classic albums as has been popularised by returning veteran acts, The The's opening set consisted of recent album 'Ensoulment', their first studio album in 24 years – played in its entirety.
With Matt 'framed' by a couple of vintage-styled microphones and subtle screen projections possibly appreciated more from a distance by the initially seated audience, this is, as Matt describes, "a mellow late night set". He comments that the seated audience on ground level should be standing and the upper levels sitting, planting the seed of an idea for some in the audience for the second set.
Not entirely without the political undertones of Matt's more well known material, this first set swells with age-appropriate introspection ('Where Do We Go When We Die?') and reflection such as the musically inventive 'Down By The Frozen River', which Matt introduces as "a poem abut truancy".
Although this set is mostly well received, there are some in the audience chattering as though the band is their own support act, awaiting the familiar material in the second set.
During the short break between sets, some of the audience assemble against the stage having heeded Matt's earlier suggestion and hold their ground as they're given stern looks by those remaining seated before Matt reiterates his stance and the audience as a whole rise up.
This more 'electric' second set opens with the percussive 'Infected'. 'Little' Barrie Cadogan, having already demonstrated his suitability as Matt's current guitar-slinging sideman earlier, further proves his worthiness in providing the higher register backing vocals on this and again later during 'Sweet Bird Of Truth'.
Following this opening salvo, there is the inexplicable absence of Matt's call and response with members of the band as religious icons over the 'Ballroom Blitz' beat opening of 'Armageddon Days Are Here (Again)', before the band take it back a notch for early song 'The Sinking Feeling' and then 'Heartland'.
Matt and Barrie sit down to inaudibly chat briefly with each other during the intro to 'The Whisperers'. They remain sitting for a sparse performance of 'Love Is Stronger Than Death' (a song that could have easily fitted into the first set) and it feels like a set within a set.
Matt chats amiably between songs, asking "How are you enjoying this time travelling?" before reminiscing about the '60s, '70s and '80s and introducing 'August & September' as "a song about possessiveness and jealousy" with keyboardist D.C. Collard contributing harmonica.
'Slow Emotion Replay' is played in a style contemporary with the 'Soul Mining' album with D.C. on omnichord and a drum machine beat; this is fittingly followed by 'This Is The Day' from that same album.
This sit-down portion of the set ends with Matt's sincere praise: "It's a pleasure to be onstage with these guys," and he takes up the electric guitar again for 'Icing Up' from his 1981 debut 'Burning Blue Soul'. Not only is this the earliest song played tonight, it is by far the most voluminous and dynamic, the band conjuring a controlled sonic turbulence that leads into 'Dogs Of Lust' with D.C. venturing front of stage to play the undeniably catchy harmonica riff
James Eller's sinister bassline props up the political lyrical content on 'Sweet Bird Of Truth' before this second set ends with 'Lonely Planet', almost a summation of the emotional introspection of what has gone before in the previous couple of hours.
The break before the encore gives the band and audience alike opportunity to take a breather from the intensity of some of the performances, before the band return to be introduced by Matt who naturally excludes himself before someone calls out, "who are you?" He amusingly replies: "I'm the man who murdered himself."
The encore of songs from 'Soul Mining' seems fitting given the recent 40th anniversary of that album and following an eagerly awaited 'Uncertain Smile', replete with D.C. reproducing Jools Holland's recorded piano solo, on 'Giant', drummer Chris Whitten mechanically pounds his kit and with Barrie on percussive guitar, Matt leads the band in an extended closing chant, a shared moment from a satisfying evening as whole that won't be soon forgotten.
