On a slightly humid Brisbane evening, They Might Be Giants (TMBG) played the first (but second listed) local show for the Flood, Book and Beyond: An Evening tour.
No one can deny The Tivoli, with its vintage art deco vibes, is the perfect venue for the quirky intellect of TMBG – who are bringing us live version of songs from their album 'Flood', bangers from their recent album 'Book' and other classics and diehard fan favourites (7 October).The all-ages show is uniting a mix of young fans, very likely experiencing TMBG for the first time, with chaperones and other punters of older generations – many being veteran fans who've been riding TMBG's rock & roller-coaster of fun and silly ditties since the '80s.
The lights dim, the intro hits and we hang on tight as it's on for these punters young and old! With TMBG's signature tongue-in-cheek style, how could John Linnell and John Flansburgh's opener be anything but the chugging 'Synopsis For Latecomers'? A fitting lyrical slap in the face of those arriving late to the commotion onstage that is reflective of the cheeky narration guaranteed to ensue.
Image © Clea-marie Thorne
'Particle Man' has the room simmering with joy and let me tell you, the second those familiar accordion notes kick in, the room is erupting with glee. Punters' voices are combining for a collective, roaring sing-along while the band's tight rhythm section has their feet bouncing along to the weird yet utterly delightful tale of Particle Man, Triangle Man and the crew.
It is much the same response when 'Subliminal' drops, the touring band breaking out some snappy riffs propelling the song forward. There's also a cheeky undertone as the dual Johns (or should I say Duelling Johns) bounce lyrics off each other with the precision and rhythm of an enduring harmonious game of table tennis.
I confess, I don't know all of TMBG's songs, but their knack for marrying quirky lyrics with pop perfection is undeniable and on full display. That is until 'Moonbeam Rays', off their most recent album, which provides a glorious hook that mismatches the breakup. It's got a cool swizzle of guitar distortion and drums.
It sure is a contrast to the oomph that 'Someone Keeps Moving My Chair' brings next. Flansburgh's guitar riffs are grinding through the atmosphere, gritty yet playful and Linnell's delivery brings more humour and a sense of frustration to the ridiculous premise.
Image © Clea-marie Thorne
'Twisting' got the floorboards shaking with a punkish tempo, drawing out the dancers in the crowd. 'Women & Men' followed, with its polyrhythmic percussive beats, delivering that perfect kind of off-kilter pop that TMBG is known for. I can feel how much the fans love the older tracks, especially when the band launched into 'Your Racist Friend' – its biting satire on social dynamics may hit a little too close to home for some, but that's part of the masked intellect.
'Let Me Tell You About My Operation' and 'Underwater Woman' are sculled by the crowd before things get a little surreal with 'Lie Still, Little Bottle' as we embark on a bizarre but brilliant foray into jazzy weirdness and a touch of fever vibes, with Linnell practically scatting over the whacky percussive beats.
The momentum keeps on trucking right into 'James K. Polk' and 'Stellub' / 'Sapphire Bullets Of Pure Love' – sung live but backwards – highlights the strength of Linnell's vocals and the atmospheric keys which are painting their vibrations in the room with vivid otherworldly feels; before we are whipped back to earth with the rollicking drive of 'Road Movie To Berlin'.
Image © Clea-marie Thorne
Luckily for avid fans the first set is ending with another from the album 'Book', 'Brontosaurus'. This catchy banger has horns that punch our eardrums and pounding drums and bass vibrating through our bodies.
'Hearing Aid' has a slow build-up allowing punters time to warm back up before we get to hear the reverse of the reversed 'Stellub' filmed live. Smashing us with a fistful of irony of 'Memo To Human Resources' before the electro beats of 'Man, It's So Loud In Here' blasts our earholes and has the crowd again peaking to its danceable, electronic groove.
The Johns engage us in a bit of banter, telling us they're going to slow it down, but not before asking us how we are and declaring they're going to introduce the audience individually; right on cue a lady calls out: "Hi, I'm Alice!" Flansburgh says "Alice? Nice to meet you, Alice," and asks who is beside her, she answers "Tania" and when he doesn't get it, she declares: "It's ok, it's a name you don't have in America!"
So with the unfinished crowd introductions the 'parasocial' vibe remains as TMBG send us 'Letterbox' from the stage. With a cowboy twang, 'Minimum Wage' is as quick as it is hilarious, while 'We Want A Rock' shows off the band's knack for combining absurd lyrics with ear-worm melodies.
Image © Clea-marie Thorne
The band remain as tight as ever moving into 'Whistling In The Dark', then from out of nowhere, they pull off a stunning performance of 'Lucky Ball & Chain', a nostalgic hit but with a timeless sound.
The infectious arrangements within 'The Darlings Of Lumberland' bring us an old-world New Orleans edge with horns perforating the air with their energy. Next is 'When Will You Die' then 'Hot Cha' follows with its offbeat rhythms.
Just when you thought the merriment hit 10, they unleashed 'Don't Let's Start'. That jangly intro alone sets off a frenzy on the floor. Capping off this second set with 'Theme From Flood' backed up by the classic pop banger 'Birdhouse In Your Soul'. It's a track that effortlessly transcends age and era.
What's a two part-set without an encore? Not apples that's for sure. The Johns and the band return to give a recital of the haunting regret of the 'Dead'. Lifting our mood back up where it belongs (wink), we take a dive into a blistering cover of 'Istanbul (Not Constantinople)' preceded by a long intro showcasing the talent of the brass section.
Trumpet and trombone brought the mood and the rest fell into our hungry mouths. The Tivoli feels like it might burst at the seams from all the dancing and singing. It's a song you can't help but lose yourself to.
Image © Clea-marie Thorne
The stage emptied again and just when we thought it was over, the band re-emerges for their final send-off: 'Doctor Worm'. Fans who were calling out loudly for this to be the last encore song are now cheering with a deafening roar. A brilliant whimsical closer inviting a sing-along chorus and virulent energy leaves fans with dance in their pants as they exit into the Brisbane night.
TMBG remain unmatched when it comes to mixing eccentricity with musical mastery. The band's chemistry and creativity injects unforgettable memories in the minds of their audiences and the onstage comedic banter adds to the intimacy of the 'parasocial' relationship of band and fan.
Don't miss out on a special live experience, if there's a TMBG show left on this tour coming at ya, get to it!
More photos from the concert.
