Undercolours staged a flaccid, unadventurous set, effectively typifying the fate of your average support act – that is to say, while there was nothing truly objectionable about the band, that may have been the problem precisely. Undercolours’ complacent Triple M rock repertoire failed to pack much of a punch, any lasting impressions eluding the Corner crowd. Their set, while accomplished, was light, fluffy and unimposing.
There was one surprise packet of the night in the following support band, Seattle’s The Head And The Heart. The plucky, super-saccharine folk-pop affair enchanted the venue. Despite displaying rich single potential, the band frequently subverted the form of their songs, their jagged tangents and detours a gleeful indulgence for not only the band themselves, but for an audience eager to follow.
Grouplove’s impassioned indie-rock would instantly electrify the evening, the venue united in voice, awash with a unique euphoria. Their immense stock of melodic gems ensured a venue-wide participation the night long, an all-in party ensuing. The juvenile holiday anthem Naked Kids delighted fans, the folly an infectious treat. Spun would soon kick the evening into another gear, Grouplove cutting loose. The Californians’ boundless intensity showed the Corner how to get down, the band exuding an abundance of frenzied energy in showcasing their summery stylings. The encore concealed the evening’s zenith, the likes of Tongue Tied and Colours met with rapturous adoration. Airbourne ecstasy quickly defined the bandroom, punters’ feet leaving the floor, fans gleefully possessed by the finale of an impeccable performance. All in all, Grouplove’s return to Melbourne proved basically flawless. The Corner Hotel had been treated to a fun-filled slice of indie-rock perfection. Where club shows are concerned, it rarely gets better than this.
LOVED: Grouplove and The Head And The Heart, the latter an especially pleasant surprise.
HATED: I regret not talking to Hannah Hooper before doors, when I had the chance. Such a babe.
BY NICK MASON