Live Review: Amy Shark at Hunter Lounge, Wellington

Amy Shark

w/ Neil MacLeod

Hunter Lounge, Wellington

Saturday 15 September 2018

Hot off the sold-out Australian leg of her Love Monster tour, Amy Shark stood onstage, silhouetted by a powerful spotlight, softly picking at her guitar strings. The stark lighting looked fantastic, revealing a shadowed figure opening her soul to Wellington.

Possibly a risky move, opening with the last track from her album – and a slow burner at that. Usually artists tend to choose high energy – or at least more popular – songs to kick off their sets with impact. But when the bridge hit… when the drums and synth smashed their way into play… when the strobes began to flash… when Shark shook off the meekness and bellowed into the microphone… we knew that we were in good hands.

Keeping the mood up with the boppy “Blood Brothers” from last year’s Night Thinker EP, she presented us with the chance to dance – the first of many throughout the night.

Shark stood front and centre, rocking her trademark look of a sweatsuit jacket with her hair half in a loose topknot, and half down. She was flanked by drums to the left and a musician switching between guitar and synth to the right. A backdrop of Shark’s portrait was at the rear of the stage, with an intermediate sheer banner emblazoned with the word AMY stretched between the musicians and the backdrop.

I had wondered how Shark’s music would translate live. A lot of her songs have programmed samples, and I didn’t even know if she would have a band joining her. Things sounded great as a three-piece though. Shark played guitar during many songs, switching between acoustic and electric. The drummer had both a standard set up and a Roland trigger pad. And the guitarist played synth at times. They obviously used backing tracks for some parts too.

The crowd screamed with approval as Shark mentioned her lifelong infatuation with the band Blink 182, knowing that this meant Shark was playing “Psycho”, which features Mark Hoppus. She switched to an acoustic guitar, deftly picking the melody as she cooed into the microphone.

One point that I feel compelled to touch on is that the volume wasn’t too loud. I always wear earplugs to protect my ears, given the amount of gigs I attend, but I took them out for a period to compare, and the levels sounded quite adequate, and not excessive.

The Hunter Lounge wasn’t quite at full capacity, but the passionate crowd made it feel full. And Shark reciprocated the love. One can never tell whether an artist actually loves the audience they’re playing to, or is paying the same lip service every show, but Shark appeared to have formed a real connection tonight. She playfully interacted with the crowd, allowing a small group to start a Baby Shark (do do do do…) chant, and stating how she hates the meaningless pantomime of encores, but obliging tradition regardless.

Shark walked us through her career, taking the time to share anecdotes that explained meanings behind certain songs. The best was when she imitated a NZ accent, playing out a funny phone conversation between a former [Kiwi] boyfriend and his mother.

Shark was at pains to highlight that she has flaws, and wants her songwriting to reflect that. This vulnerability she demonstrated helped her connect with the crowd.

One surprise highlight was a cover of Wheatus’ “Teenage Dirtbag”, which prompted the biggest singalong of the night, as everyone joined in on the nostalgic trip.

I found the choice of set list fascinating, with intimate ballads alternating against high energy hits. But the audience was with her each step of the way, eagerly clinging onto every word. There were no surprises for the end of the show, with Shark playing three of her biggest hits: “Weekends”, “Adore” and “I Said Hi”, which is a certified banger. She may have started out softly, but she certainly ended on a major high.

It was a brilliant night, filled with great music, awesome lights, and a sense of community. As I left the venue I noticed that my cheeks hurt from smiling so much.

Joseph James

Live Review and Photos: The Adults at Meow, Wellington

The Adults’ second album, Haja, is one of the better albums to come out in recent months. Vivacious and upbeat, it combines energetic Sudanese percussion with emerging New Zealand pop and hip-hop talent.

I was wondering how they would pull it off in a live context, purely because the album featured a lot of contributors from around New Zealand and Sudan. Many songs on the record revolve around Sudanese Aghani-Al-Banat music, and the women who laid down those beats were unlikely to come all the way to Aotearoa for a few Adults shows. I also wondered what material they would play, seeing as there are two Adults records to draw material from.

Raiza Biza opened the night with some smooth hip-hop. He looked familiar, and then I realised that I recognised him from one of David Dallas’ Hood Country Club album release shows last year. He had a great chilled out style, and his backing music was musical – as opposed to just beats – with horns and all.

After a handful of songs Biza looked over to the door to the green room. “Jon, are you ready? Should I do another song?” he enquired, unsure of how long he should play.

“Keep playing, we want more!” a lady behind me yelled. Biza shrugged, signaled the DJ to start another song, and played a few more

The rest of the band came on after Biza’s set. Trinity Root’s Ben Lemi on drums, Steve Bremner on percussion, Emily Browning on guitar and vocals, Estere on roto toms, percussion, vocals and synth, and the main man himself, Jon Toogood on bass and vocals. A fairly star-studded line-up.

Biza stayed on for a few songs, taking on the rapping parts that he and Kings had laid down on Haja. Toogood was clearly stoked to have him on as part of the team.

I was pleased to hear the group faithfully recreate the Sudanese beats. Bremner and Lemi showed off their obvious proficiency on drums and percussion, with Estere adding roto toms, tambourine and maracas to the mix at times. Toogood complemented this by laying down thick bass, which came through loud and strong.

The mostly instrumental tracks “Haja” and “Like The Moon” were standout. They were able to mess around with the songs – due to the lack of verse/chorus structure – giving them the feel of fun extended jams.

Another highlight was lead single “Bloodlines”. “Oh, this is a good one!” a lady shouted as Toogood announced it.

“I hope so,” Toogood replied, “I thought it was good too. That’s why I’m here to play it.”

He appeared in a good mood – perhaps feeling slightly flustered and under-prepared for the first live performance of this material – but also clearly having fun, judging from his dancing as he immersed himself in the music. He joked along with the crowd as they shouted out, and made sure to direct positive attention to his colleagues.

The Adults is a supergroup, of sorts, and each member tonight proved themself a worthy addition to the band. Browning sounded great on guitar and could sing well, although could have used a volume boost. And Estere was the star of the night, spreading her talent across multiple instruments and leading most of the singing. She took on the parts written by Aaradhna and Ladi6 with ease.

They played the all eight songs from Haja, followed by “Nothing To Lose”, the lead single from the original Adults record. This was a brilliant way to end, with everyone dancing along to the strong, bouncing bassline.

A short break was followed by one encore, “Short Change” – a b-side I didn’t recognise that Toogood had co-written with Shayne Carter. Bremner played drums this time, freeing Lemi to come up to play lead guitar.

All up it was a fantastic gig. Lots of talent, lots of energy, and plenty of opportunities to dance. It didn’t feel fully polished – being the first performance of new material – but it didn’t feel lacking either. I would have loved to hear more, but they did play the entire album, so I can’t exactly feel cheated. If you get the chance to see the Adults play any of the rest of the dates as they tour New Zealand of Australia then I recommend you head along and have some fun.

Words and photos by Joseph James

Photo Album: Skinny Hobos at San Fran, Wellington

Skinny Hobos album release tour

w/ His Master’s Voice, Coridian, Curly’s Jewels

San Fran, Wellington

Saturday 9 June 2018

Curly’s Jewels

Coridian

His Master’s Voice – The Devils Blues

Skinny Hobos

All photos by Joseph James

Live Review: Royal Blood at TSB Bank Arena, Wellington

Royal Blood

w/ Dead Favours

TSB Bank Arena, Wellington

Friday 4 May 2018

It’s weird to think that it was just over a week ago that I last saw Jared Wrennall onstage. The Dead Favours singer had joined Skinny Hobos during their set when they opened for Biffy Clyro in Auckland last Tuesday.

The Hobos had done well, but this opening set that Dead Favours played in support of Royal Blood in Wellington tonight was heads and tails above it. The sound wasn’t even that great – TSB Arena is notorious for poor acoustics. The singing and guitar struggled to feature above the heavy low-end mix. Despite this, Dead Favours still managed to do themselves proud.

The crowd response was unbelievable. It was a big turn out for so early in the night – roughly 1700 people at that stage – and they were lapping it up, clapping along without prompting, cheering, and encouraging the band. I attend a lot of gigs and to see this kind of crowd support for a local opener is unheard of. Well done Dead Favours!

It’s hard to believe that Royal Blood have risen to this status on the back of just two albums. In fact, they’d already earned a lot of attention from their eponymous début, and latest album How Did We Get So Dark? only helped to cement their place in modern rock stardom. I was out-of-town when the duo last played Wellington three years ago, but they were already a much hyped-about band back then. The packed out venue tonight goes to show how popular they are. In fact, the crowd started up a chant “Royal Blood, Royal Blood!” after the first song, showing the strength of their collective enthusiasm.

“It’s a shock to come so far from where we live and see so many people here” singer Mike Kerr confessed, “We count ourselves lucky.”

I review a lot of solo projects on this blog, and the odd two-piece. But the fact remains that I’ll always be impressed with what just two talented musicians can pull off. I’d say the standard rock band has five roles: a singer, drums for the beat, bass for the low-end, and two guitars – one for rhythm and another for lead. And often you can get by with fewer players if they are talented enough, but creating a full sound from just two players is quite the feat.

Kerr employs a lot of technical wizardry to pull of the tones he creates with just a bass guitar in most of his songs. He’s like the swiss army kit singer, filling a range of duties, providing singing, banter, bass, guitar sounds, even playing a Rhodes organ at one stage.

Drummer Ben Thatcher is no slouch either. He came across as super casual, wearing a Slayer t-shirt and snapback cap, and spending as much time supping tequila from a red plastic cup as he did playing drums. He only spoke once during the set, coming forward to recite a poem, just to demand that we party with him when screams from the crowd interrupted his prose. But when he played you knew about it. A thunderous back beat, with deft playing that remained unbusy. He had interesting mannerisms. He threw his sticks high into the air as he played, just as he frequently threw his red cup off to the side between songs, only to fetch it and fill it, just to repeat after the next song.

The duo treated us to their arena rock with a hint of danger. A touch of blues, a sinister vibe, a noticeable swagger. Hard hitting, with crunchy riffs and clearly defined beats. They’ve clearly been at it for a long time. I noted that during the breakdown of “Lights Out” they managed to play as a tight unit, despite various tempo changes.

I could draw comparisons from other notable blues rock duos, but that’s just lazy. That said, I did see another two-piece, 21 Pilots play this same venue last year.

21 Pilots are great showmen. It’s all gimmicks and theatrics. They get away with playing as a two piece because they rely heavily on backing tracks. But hey, it makes for a great show. Royal Blood, however, are more straight up. No messing around with backing tracks, video screens, and odd stage costumes. They play hard, and they play well. And I respect them for it.

Royal Blood take notes from top-tier rock legends. The stark lighting show of vertical light bars and blinders could just fit in at a Nine Inch Nails gig. During “Little Monster” they paused, launched into a spellbinding drum solo, built the intensity, and came back to finish the song five minutes later. It’s the kind of move that Foo Fighters used to pull back in their prime.

Two backing singers came on for a handful of songs throughout the night, dressed in glittery black outfits. They were barely audible for most of it, but their haunting coos certainly enhanced “How Did We Get So Dark?”, from the album of the same name.

One of the key attractions is that Royal Blood make things things appear simple. Obviously it isn’t – getting those tones from a bass guitar isn’t normal at all – but it seems simple. Good riffs, fairly straightforward beats, stark lighting. It’s minimal, efficient – even down to the amount of people on stage. No-nonsense rock and roll. And it’s all damn good.

Joseph James