Patrick Wolf - 8/9 Sept 2012 - The Studio, Sydney Opera House

Writing this MONTHS after I made notes reminds me that I really really should write these fresh. Oh well.

Support act Brous were a weird mix of Kate Bush and Fleet Foxes, except not as enjoyable as that sounds. They had elements that I normally like and thought would be a great match for Patrick Wolf - Baroque harmonies, plenty of unusual instruments (such as the harmonium, zither, bassoon and recorder) - but it just didn't work for me. In part, it might've been because they tried for awkward banter that assumed too much engagement with the audience to start with; they obviously did have fans there, but there wasn’t enough warmth coming the stage, nor returning. It was an awkward set that dragged for me. 

But then we were rewarded with one of the most enjoyable gigs I've been to in a while. Between Patrick's fun commentary between songs, and the intimate atmosphere, this night was absolutely charming. Like sitting in a living room with someone lovely and having them make absolutely beautiful music just for you. To introduce a haunting Wind in the Wires, he told us about being inspired by the windswept minimalism of other artists working with unusual implements like wine glasses, etc. Then he backed that up with "That's what I'm inspired by - that and Nicki Minaj of course."  

And there was even more instrument porn, but done right! It was just Patrick on stage with one other musician, and they cycled through a range of instruments each, from violin and piano and harp and even a saw; and also his beautiful voice, used just like another instrument. There was a lot of emotion in the performance too the clear joy in The Magic Position, gratefulness for his aunt (who was in the audience) for supporting him, love and acceptance in House and Bermondsey Street. 

I really appreciated the depth of his back catalogue, and the lovely mix of older (Hard Times) and newer (Together), popular (The City) and rare (such as Penzance). The Sundark and Riverlight arrangements were great, giving a fresh sound. Standouts for me were Tristan and Oblivion, which despite being acoustic kept their edges; Tristan was slinky has hell, and Oblivion sounds completely different in a really melancholic, beautiful way. 

So we only planned to go the once…but this show was so so so good that as soon as it ended, even as we were still sitting in our (front row!) seats, Al and I turned to each other and almost simultaneously said, “If there are still seats for tomorrow…” And there were – and even more amazingly, they were the EXACT SAME SEATS IN THE FRONT ROW for a near-sold out show. No, we don’t understand how that could be possible either. But we didn't question our luck and bought them, quick smart. 

The Sunday night show was a much more subdued affair. Patrick seemed to be in a hurry to race to an end, with a lot less banter, not opening himself up to the audience like first night. With less connection, so the night seemed to go a lot faster and ended rather abruptly. 

But he did change up the set list, and Bluebells was my standout this night. I also loved hearing Overture at the start, with another great arrangement. And the music was still beautiful and totally worth the impulse buy. :) 

Sept 9 setlist
Overture
London
Demolition
Tristan
Paris
Bluebells
Oblivion
Hard Times
Together
Wind in the Wires
House
Magic Position
Trust

Penzance 
The City