Brisbane's Grey Street, the thoroughfare which links South Bank, West End and Milton, is pedestrianised with music fans attending two major concerts.
On the southern side, couples walk towards Queensland Performing Arts Centre (QPAC) in their business-casual attire ahead of The Whitlams Orchestral's performance. Whilst punters on the northern side trek towards On The Banks in their festival fits ready for The Streets (6 March).
Inside QPAC's downstairs foyer, the audience is enjoying a nice glass of champagne alongside a signature cocktail. It's all very surreal and sophisticated – there is no 'barricade' or mingling in the mosh, instead there are conversations over a glass of wine in allocated seats.
No one is here on a whim; it's a very calculated affair. The quiet chatter from the audience is accompanied by Queensland Symphony Orchestra's (QSO) quiet harmonies as they tune their strings.
Against the harmonic ambiance, Tim Freedman (vocals), Jak Housden (guitar), Matt Fell (bass, substitute for Ian Peres during this tour) and Terepai Richmond (drums) take their place amongst the sea of musicians.
They begin 'Beauty In Me' with no introduction. The air in the room is drawn thin during this initial performance, and it stays like this until the intermission.
Despite the overwhelming presence onstage, one person is missing from this first song – Alice Freedman. It seems Brisbane, has been robbed of this duet with Freedman's daughter.
Soon after, they transition into the Charlie Medley: 'Charlie No. 1', 'Buy Now Pay Later (Charlie No. 2)', 'Keep The Light On (Charlie No. 2.5)', and finally 'Charlie No. 3'.
Fell, Housden and Richmond make their introductions during these songs, finding a perfect position amongst QSO. After entering the comfortable middle ground of the first set, Freedman introduces the performance of a newer song, 'Nobody Knows I Love You'.
Its introduction is met with a comedic "NO!" from a fellow crowd member, to which Freedman responds with "oh it's happening buddy". The song begins with the soft accompaniment of Freedman's grand piano against his warm vocals.
The stage spotlight is solely focused on Freedman during this transfixing performance as the rest of the band and QSO take a small break. QSO only accompany the song during the commencement of the second chorus, reinstating that it is truly a Whitlams concert.
Unfortunately for the pre-mentioned punter, the next song introduced is another newer one, 'Fallen Leaves'. The lighting perfectly synchronises with the performance onstage, illuminating a green hue across the room.
It's a cinematic 4D experience; the air is mobile with polyphonic melodies, green orbs cascade the theatre as the flute's descending melody drops leaves from the ceiling, and the balcony floor vibrates consistently with rhythmic foot taps.
Just when the climax of the concert reaches its peak, the intermission begins. It's enough of a performance to both want more and have enough to relish in during the short break.
The concept of an intermission during a rock concert is foreign and perplex to this young reviewer. Yet it proves The Whitlams are still an Australian rock band at heart. Each band member has a set list taped on the floor like sheet music to the musicians behind them.
The second set commences with 'Blow Up The Pokies' and it seems the crowd has let loose over the intermission, failing to refrain from cheering at the hit.
The QSO are consistent waves against Freedman, Housden, Fell and Richmond. With each up bow of the strings, the wave reaches its peak as the band rides along before the wave crashes with the down bow.
Soon after, Freedman introduces the Peter Sculthorpe arrangement 'Out The Back', a 2002 testament to the ocean. Freedman tells the story of how the late Australian composer transformed the four-minute song into a seven-minute arrangement one night on the piano. He calls out to the lead clarinet player, claiming, "your legato is unquestionably brilliant," and so it is.
The piece begins with a tense string section, foreshadowing the rest of the song. The drums kick back in with Freedman's vocals, reinstating The Whitlams' leading role onstage. Housden performs a killer guitar solo full of feedback and angst, taking up the limelight of the section.
Shortly after, The Whitlams exit the stage, leaving the QSO to have a moment themselves underneath the spotlight. The crowd's attention is solely on the orchestra, watching as their waves build and crash.
The band enters the stage one final time, holding a glass of champagne each, of course. The piece finishes with a glimmering harmonic; its sparkling aftereffect illustrates the sun dancing on the Australian ocean shore.
At the end of the set, The Whitlams create a humorous juxtaposition between 'Year Of The Rat' and 'Gough'. The song of angst and war about Prime Minister John Howard is soon outplayed by the ballad for Prime Minister Gough Whitlam.
The serious change in attitude is illuminated during the false introduction of 'Gough', to which Freedman laughs and starts again.
The night was visceral and tasteful – QSO performed a perfect accompaniment against The Whitlams, ensuring the band was the star of the concert.
