Atmospheric drone and eerie incantations set the scene for The Church’s arrival on stage.
Steve Kilbey’s rhythmic bass and multiple guitars (Ian Haug, Ash Naylor and Jeffrey Cain) ring out to usher in opener, 1982’s When You Were Mine – ooft, they’re in the pocket from the get-go.
Kilbey’s vocals are giving Ric Okasek. Post-song, he claims Melbourne is his “favourite city in the whole world” (shucks) before teasing “almost three hours of artery-clogging nostalgia”.
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Kilbey’s bants is on point this evening. While introducing Bel-Air – Kilbey’s first-ever composition for The Church, written in Canberra when he was aged 19 – we’re told he recalls his mum repeatedly yelling out “SHUT UP!” through the wall while he created it.
The sprawling Life Speeds Up – a B-side that featured in a surfing movie (1982’s Storm Riders) – is an early highlight, which showcases this wonderful band’s synergy and culminates in a flurry of chimes. Cain, an American multi-instrumentalist – now a permanent member of The Church – is a beast on the tamba. And there’s also double drumming in this current lineup: Tim Powles alongside Nicholas Meredith.
Kilbey dedicates this entire gig to Helen Thomas, a longtime fan of The Church who had a ticket and would’ve been here had she not sadly passed. Disappear? was written in South Melbourne, Kilbey reveals, and then Fly’s synth parts transport us straight back to the ‘80s.
Following the vibrant, circular riffs that close out One Day, Kilbey confesses, “I’ve gotta say I’m enjoying this,” before the “real rock’n’roll” section of the show kicks in with Electric Lash.
The Church’s debut single, the New Romantic-tinged She Never Said (1981), follows, during which Cain’s tambourine accents pop. “You’ll know this one, for sure,” is how Kilbey introduces the wistful singalong moment that is Almost With You – Naylor’s guitar solo here, though!
Kilbey hilariously recommends we all “go and do a wee-wee” during intermission since the show’s second half is “really long”. He then acknowledges You Took – the main set closer – will be particularly well-received by anyone in attendance who may be tripping or on hallucinogenic substances. Once again, Naylor’s guitar wizardry shines ever so brightly.
We feel a tad panicked taking our seats for act two since there are so many Church classics we’re yet to hear and it’s already almost 10:30pm – eep, talk about a race to the finish line!
According to Kilbey, Tristesse is “about the sadness that comes after lovemaking”. It’s The Reason, he says, has previously been described as “like Puff The Magic Dragon on bad acid”. Who knew chanting, “Is this where you live?” – repeatedly – could feel so cathartic?
We’ve heard Kilbey hates performing Unguarded Moment, which he describes as “inevitable like a traffic fine or a root canal” – suck it up sunshine! It’s a banger; that wah-waaaaah guitar breakdown is stank face-inducing.
And so says the straw hat-wearing reveller who abandons their seat and dance-struts down the stage-left aisle, enjoying their own sentimental, unguarded moment – muscle-memory activation inclusive. More punters join said fan and soon the aisles fill up with twisting bodies and grinning faces.
Travel By Thought is unhinged and exhilarating, like a stack of instruments falling down the stairs. Whatever it is about Tantalised’s vocal melody that worms its way under the skin should be bottled and sold – sublime stuff.
As anticipated by exactly everyone, Under The Milky Way is the incandescent star of the show. All together now: “Wish I knew what you were looking for…” More hero guitar moments. This mandatory inclusion in the Australian Songbook is rapturously received tonight.
Their light show is mesmerising, sure. But The Church don’t require any bells and whistles. The set concludes at 11:13pm, but we could’ve done with some more worship at The Church’s altar.
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