Performing solo, Alex Cameron seems taller, more angular and thinner than he is in Seekae. The long hair, the slick business attire, the gaunt appearance; he could be mistaken for a reverential Melbourne icon, circa 1989. That, or a mix of Roxy Music-era Brian Eno and Nosferatu. But Cameron has enough chutzpah to set him apart and command attention. His moves resembled Simon Bonney and Ron Peno, but backed by tape loops and Roy Molloy on sax, the likes of Take Care Of Business, Happy Ending and The Comeback flourished. Cameron gyrated his lanky frame around the stage without being bashful and it was a great reward for effort.
After a short break, a mob of tall, angular and thin types took to the stage. Are we working on a theme? The stage was bookended by sartorial bass-beast Doney Benet, who could be a fusion of Dave Graney and Ron Jeremy, and guitarist Kirin J Callinan, who radiated even more once bare-chested. Standing in the centre, Jack Ladder towered over the audience and launched into a thoroughly enjoyable set with Come On Back This Way. Without Sharon Van Etten’s vocals, this song and To Keep And Be Kept could be said to lack something intrinsic. However, the band delivered these songs in sterling manner.
The melodic rotations and adroit understanding of purpose meant Her Hands and The Miracle were pulled off meritoriously. This impression grew with a colossal rendition of Hurtsville. There were times when individual musicians came close to virtuosity but not to the extent that they became tedious or severe.
This show was full of memorable snippets that could not be easily forgotten. It was everything indie dreams are made of; rich with eccentricity and fascination, and less concerned with commercial achievement than attempting to document a lascivious, grotty and dark world.
BY BRONIUS ZUMERIS
Loved: Being surrounded by mirror images of Steve Martin and James Belushi.
Hated: “Seat taken” means “Seat taken”. They are not confusing words.
Drank: Very little.
