But the night belonged to The Decemberists and a palpable anticipation was in the air by 9:30pm. This was the Decemberists' first non-festival show in Australia, something frontman Colin Meloy was quick to point out as the band took to the stage to rousing cheers. They were playing for an audience who had been waiting six years and five albums to see them, their music and reputation for live shows preceding them. They did not disappoint. Fun and funny, engaged and engaging, The Decemberists played a hour and a half long set packed with old favourites, new material (a song from the upcoming record, one a cover so new Meloy still needed lyric sheets), and tonnes of enjoyment for both the band and the audience.
Highlights of the night often involved Meloy demonstrating something akin to a God complex as he orchestrated audience participation. Halfway through 'Billy Liar', Meloy divided the crowd into left and right hand sides by an invisible line stretching the entire length of the theatre, then pitted the two sides in a battle of impassioned singing of the 'ba dum bah' refrain. Flattering each side in turn to raise the volume of the singing, Meloy then became the puppetmaster, raising and lowering the volume in jerky motions with his hands, the audience complying with his every move!
He was back to his tricks again in main set closer 'The Chimbley Sweep'. Meloy and guitarist Christ Funk began mock-duelling midway through the song, showing off their skills on their guitars with licks and riffs until both were playing their instruments above and behind their heads, to the audience's glee. Meloy followed this by sinking to the floor, and soon the entire band had followed suit. With a wave of his hand, the entire theatre began to sink to its knees too, until every person was low to the floor. Oh the power! Meloy pretended to be asleep before mischievously narrating the 'awakening' of the theatre, as Jenny Conlee's sweet voice brought us back into the song.
The whole band were consummate musicians, switching easily between a variety of instruments. 'The Rake's Song', possibly the most fun anyone can have singing about infanticide, hurtles along with an ominous triple beat, with Conlee and Funk joining John Moen on drums. And on the last song of the night, 'Sons and Daughters', it was a wondrous sight to look across the stage and see the accordion, upright bass, drums, bouzouki and hurdy gurdy playing in fantastic harmony to great effect.
But I was won over long before that last note, long before Meloy's banter had me clutching my sides laughing, long before the beauty of the quieter moments, the slower songs. For me, from the moment they launched into the second song, the epic 12 minute long 'The Island', with its prog rock intro to its hushed, sad ending, I knew I was in for a glorious show. The power of the music, the talent of the band; it was just amazing. This concert, this night, will be a hard one to top.
My friend braved sore arms to capture the entirety of 'The Island' on video, and she is my hero. :)
The Crane Wife 3
The Island
The Sporting Life
Billy Liar
July, July!
Shankill Butchers
The Engine Driver
On The Bus Mall
(new song)
The Rake's Song
O Valencia!
16 Military Wives
The Chimbley Sweep
Eli, The Barrow Boy
Bye Bye Pride (Go-Betweens Cover)
Sons and Daughters [another great video, taken by celerity59]
