Even before Unknown Mortal Orchestra (UMO) entered, The Tivoli Theatre stage (15 September) was teeming with life.
Plants dangled from the ceiling, each hanging in neat rows, vines swaying soundlessly above the band members’ heads as they surfaced.
The leading track of 2013 record ‘II’ started the set, ‘From The Sun’s intricate guitar plucking particularly awe-inspiring, listening live. Attention shifted suddenly from the front, to the balcony, an orange light catching the audience’s eyes; guitarist Ruban Neilson had slipped away from the stage, performing among the crowd, illuminated by a lightsabre’s glow.
Click here to read our recent interview with UMO.
The song transitioned seamlessly into the band’s self-titled album starter, ‘Ffunny Ffriends’, Ruban’s vocals peeking through the melody’s twanging guitar riff. ‘Swim And Sleep (Like A Shark)’ proved very similar sounding, tune dictated by instruments instead of words.
Image © Kalem Horn
The bass guitar shone in ‘Necessary Evil’, our first glimpse into 2015 album ‘Multi-Love’. “Hey Brisbane, how are you?” Ruban briefly paused to ask. “This is a new song,” – ‘Ministry Of Alienation’s introduction. It was the set list’s first foray into psychedelic rock – the genre pushed primarily by guitar whammy, teamed with sombre tones.
Pairing a recent release with a fan-favourite is always effective, ‘So Good At Being In Trouble’ next sparking an eruption of excited recognition. The chorus was chanted by hundreds, though even the silent swayed their bodies.
“Here’s another old one,” Ruben announced, “I’m not sure if you’ll even know it.” He turned back the clock to his debut album, ‘Nerve Damage!’ surprisingly grungy, faster-paced.
“Are you not allowed to dance? I would like you to be able to dance,” said Ruben, pointing fingers at the ‘strictness of security’, before introducing his band.
Image © Kalem Horn
Amid the crowd-pleasing slew of well-known tracks, three new releases were unveiled back-to-back. ‘Major League Chemicals’ asserted the set list as a sine wave, increasing in intensity; ‘American Guilt’ was heavier again, sound movements mimicked by lighting.
Another clean musical changeover into the slower musings of ‘Not In Love We’re Just High’, the sine curve dipped, song almost acoustic, vocals accompanied only by a swirling synth and brief drumbeat. ‘Multi-Love’s recognisable piano riff sparked a roar of approval, cheers louder again when the band exited afterwards.
Routine “one more song!” chants revived the gig’s demise, UMO returning with the disco-esque ‘Everyone Acts Crazy Nowadays’. ‘Hunnybee’ sealed the ‘Sex & Food’ deal, establishing the album as a multi-pronged winner.
“Thanks for being with us tonight,” Ruben praised gratefully, before launching into ‘Can’t Keep Checking My Phone’. Though he stopped seconds in to the track’s opening riff: “I’m so sorry, I totally screwed up a song I’ve been playing for years.”
Attempt two stretched seconds further, but collapsed once again. “I don’t know what's going on – what the f... is going on?”
Click here for more photos from the show.
Despite the slip-ups fans seemed thrilled by UMO’s first imperfections of the evening and I see why, the false starts added an impossibly likeable human-like element to the set. When the track gained momentum, the crowd seemed more primed than prior; many singing, MORE dancing, gig closing at a sine wave peak.
Listening live affirmed UMO’s music is most interestingly driven by instrumental riffs, as opposed to lyrics. Ruben’s words are almost muddled at times, only barely distinct beneath walking basslines, heavy percussion or skilful guitar solos. It’s almost as if his voice acts as the accompaniment, instead of the standard song structure of music accompanying words.
In saying that, his lyrics do not lack: ‘Checked into my heart and trashed it like a hotel room’; ‘Nobody can get a tan in the moonlight’; and ‘The world is crowded, did your doctor prescribe me for what ails you, dear?’ being prime examples of his poetic thought processes.
Image © Kalem Horn
I commend the band’s ability to so beautifully recreate tracks that have clearly been painstakingly produced; so many layers, so much sound manipulation, so meticulously composed, yet the live format quality was practically faultless.
Ruben has quite incredibly created a genre that simultaneously treads on multiple fine lines – partly psychedelic, partly rock, partly pop, even partly experimental.
Band members and hanging plants weren’t the only living beings on the stage, Unknown Mortal Orchestra’s music unmistakably breathed with life, as well.
