Frank Turner (solo) – Show 2284
San Fran, Wellington
Thursday 29 November 2018
It was April 2015 when Frank Turner last played Wellington. He’s since released two albums, Positive Songs For Negative People (2015), and Be More Kind (2018). That show he played at Meow was #1666, and today was #2284 and #2285, which just goes to show how often he plays.
When first announced, this date was billed as a solo show. I was disappointed, but still planned on going. Then plans changed: The Sleeping Souls were also coming to play with Frank – yay! Tickets promptly sold out, so Turner opted to play a second set for those who missed out – a solo matinee set. Double yay – two Frank Turner gigs in one day.
I’d taken half the day off work to make sure that I could get here in time for the 5pm start. I obviously don’t go to matinee shows much, because I couldn’t get over how bright the venue was in the day. Aren’t bar venues supposed to be dark and dingy? Not that it mattered, because I was about to see one of my favourite artists play.
This was my fourth time seeing Turner play, and it felt different. Dressed casually, and armed with an acoustic guitar, he rewarded his fans by playing a both hits and deep cuts, spanning his solo career. As you can imagine, he drew largely from his most recent album, but he covered the essentials, as well as some unexpected numbers.
I’ve been having a hard time recently, and this set was just the remedy I needed. Hearing Turner open with the gentle encouragement of “Don’t Worry” washed away all the turbulent crap filling my head and eased me into the moment.
And soon I was dancing and singing along to his rousing tunes. His recent albums bore themes of positivity and kindness, which did wonders to bring the mood up in the venue. Turner always encourages participation at his shows, coaching us to sing along with him.
That said, a solo acoustic show is the perfect setting in which to play slower tunes, such as “Song For Eva Mae” and “Journey Of The Magi”. But those moments didn’t last long, with Turner infectiously turning the intensity up throughout the set. I would have loved to her “There She Is” again, having fallen in love with the song when I saw him play it in Vancouver last year, but he did play 18 songs… as a warm up… so I shan’t complain.
Turner was as charming as always, dropping funny anecdotes about sitting next to a doomsday prepper on a flight, and screaming at the band Slayer in a petrol station at 3am one morning. Intimate shows like this are a great setting for artists to open up and share the stories behind the songs [another similar one that jumps to mind was when I saw Into It. Over It. in Melbourne].
His voice was sounding fairly hoarse by the end of the set. I know he recently cancelled an instore show in Dusseldorf last week to give his voice a break, which leaves me wondering how he is going to hold up later tonight.
It was a fantastic show, and I’m glad that I chose to attend this set as well as the main one, but something was lacking. Certain songs just needed that extra oomph that only a band could offer. I’m looking forward to the real deal later on.
Frank Turner & The Sleeping Souls – Show 2285
w/ The Hard Aches and Emily Barker
I walked home to my nearby apartment to grab something to eat, draft up my review and upload the data to setlist.fm, before promptly returning for the second show.
Emily Barker played country/folk with a tinge of danger – similar to Emma Ruth Rundle at times. I was surprised that Turner didn’t come out to reprise his part on Barker’s song “Fields of June” – like he’d done with Jon Snodgrass when playing Buddies material last time they were in town – but I guess that he needed to rest his voice as much as he could. It sounded weird hearing country/Americana styled music from someone with an Australian accent, but Barker pulled it off with no worries.
I preferred Barker’s countrymates The Hard Aches, a punk duo who boasted an impressive sound for just two people. Royal Blood make way, because The Hard Aches are going to give you a run for your money! Their sound was energetic and fun, with great vocal harmonies. They sounded familiar, without me being able to put my finger exactly on who they reminded me of. Some of their music was snotty punk with strong Aussie accents, but a lot of songs featured deceptively mature songwriting.
You know how I mentioned before that Turner’s first set was great, but lacked something? Well, this time that void was well and truly filled. The Sleeping Souls are a well oiled machine – as you can well imagine after having played literally thousands of shows together. Their collective experience shows because they’re hella tight, and great showmen.
Obviously they were always going to draw heavily from the last record on the Be More Kind Tour, but the entire first half of the set was from the last three albums. I guess they haven’t played in New Zealand since releasing the past two records, so they needed to cover some of that material.
But it’s the older material (first four records) that the crowd really lapped up, singing along to wholeheartedly. Turner openly admitted that he was struggling with his voice by this stage, so welcomed the help from the “Wellington Gospel Choir”.
Turner took on a secondary solo spell for the night, playing calmer numbers “The Lifeboat” (a deviation from the planned set because it was requested and easy to sing) and “Glorious You”. But from there on in it was all go, with crowd favourite sing-alongs and mosh pits. Each song seemed sequentially better than the last.
The first three songs during the encore had also featured earlier in the night during the solo set, but felt fully fleshed out and full of vigor this time. Everyone was whipped into a dance frenzy for “Four Simple Words”
Frank Turner preaches a lot about his idealised punk-rock world, where people care for each other and can tolerate differential viewpoints without resorting to them-and-us politics. Where we can link arms with strangers and sing and dance together despite our differences. And although I’m sure he says virtually the same thing at every show, I think that he genuinely believes in his message of community. During the final song “Polaroid Picture” he substituted a line about London venue The Astoria closing down for Wellington’s own Bodega. This showed his awareness for our local music scene, and that he truly places importance on live music and how it can bring people together. A subtle difference that I really appreciated when I picked up on it.
Tonight I got to see one of my favourite musicians play a whopping 43 songs. And it was awesome. I got to see the intimate, poetic side to him, as well as the road-weathered master showman. And I feel incredibly blessed for it. If you get the chance to see Frank and the Sleeping Souls play, seize the opportunity!
Words and photos by Joseph James