The Curtin was littered with bearded men and mullet haired women in a range of flannel, jumpsuits, tattered caps and underground band tees. The Modern Lovers and Pavement were pumping through the speakers attuning the squashy room for the scruffy everyday honesty set to spread itself out across the stage.
The Clits are incumbents of the Geelong garage-class of 2012 and the three-piece really are at garage level. There is a fine line between scrappy charm and awkward ineptitude and there were a few times when the ‘human touch’ justification couldn’t salvage the three members’ disparate contributions. Bored Stiff is one of the peak points on Anti-Fade’s New Centre of the Universe compilation but it was afflicted by the band’s crumbly coordination. They did settle in as the show progressed and the last handful of fragile-yet-snappy tunes sounded quite confident. It’s hard to tell whether this was because they’d practised these songs more, or luck decided that things could now click. Either way, it was enough to draw the growing crowd right up to the stage, which is a rare sight at these gatherings where music lovers often do everything to act as if not impressed.
When Boomgates hit the stage The Curtin was at sold out capacity and there was no slice of breathing room whatsoever. The Melbourne five-piece is an assemblage of members from a set of bands that are fairly ramshackle in essence. Interestingly Boomgates sound is more controlled than their respective ‘day-jobs’. Boomgates could be construed as a side project, but this should not connote a ‘mess around’ project. The fact the members don’t have their hopes desperately invested in this band creates a relaxed ethos, but it was clear that everyone on stage was really involved in what they were playing.
Brendan Huntley has a great voice. He sings in deadpan aussie accent, but it’s not offhand speak-sing. He locked in with the songs’ lyrical content with a compelling compound of melodic consistency, manic need and uncouth originality. Boomgates have a calmer, more autumnal sound than Huntley’s other band, Eddy Current Suppression Ring and his onstage character complied. I expected him to be a rampant stage president but he was reasonably casual, focused on optimising his vocal performance.
Dick Diver drummer Steph Hughes straps on a guitar in Boomgates and tonight proved herself to be well equipped in this role. Her vocals have a central role in Boomgates too and the two voices made a cosy pair. Whispering or Singing even tempted the margins of romance – recalling The Pogues’ Fairytale of New York.
Rick from Twerps exceptional bass work gave a melodic boost to the jangly tin-shed guitar playing. Drummer Shaun Gionis (formerly of Trial Kennedy) maintained a tough energy, which conferred with the ‘you must hear us’ intensity that Huntley brought. As the show progressed Huntley’s crazy eyes appeared and a possessed look came to glare in front of us. The only way to escape intimidation was to imitate the corruptive ecstasy.
BY AUGUSTUS WELBY
LOVED: When Huntley asked the crowd for a harmonica and had his wishes met.
HATED: It was probably a set-up (he didn’t specify what key).
DRANK: Sparkling ale.
