Boy and Bear @ The Palais Theatre, Melbourne (05/09/2014)
Since before their rendition of a Crowded House classic gained them widespread exposure and a top 5 place on Triple J's definitive guide to the most loved indie tracks of the year (Hottest 100), Boy & Bear have gone from strength to strength.
It's important to note the five Sydney-siders received critical acclaim and the adoration of a loyal fanbase from the outset, in response to their debut EP With Emperor Antarctica. The infectious and warm indie-folk driving tracks such as Mexican Mavis was instantly appealing, and their early supporting spots on the tours of Mumford & Sons and Laura Marling well-placed. Since their inception in 2009, throughout the countless live shows, recording adventures overseas, numerous ARIA nods and even a small line-up change |
(bassist Jake Tarasenko's departure made room for current member Dave Symes), there have been a few stable elements at work.
Boy & Bear write rhythmic, lyrical indie-folk as likely to induce barndance style foot-stomping as shivers down the spine in response to heartfelt stories of loss and life.
Frontman Dave Hosking is an enigmatic onstage presence, exuding the swagger of somebody totally centred in himself and what he does. He shares with his bandmates a confidence that is as steady as it is unassuming.
Killian Gavin wins hearts with his handsome beardedness, which is matched by mad skills on a fretboard. Long stretchy guitar solos are his thang, as are improvised musical meanderings between songs that he casually shrugs off – 'I was feeling it', he tells us by way of explanation.
The chemistry of Boy & Bear is heartwarming in its effortlessness. Their onstage banter flows easily, clearly of-the-moment. No onstage rivalry or ego-battles to see here. They captivate their audience with down-to-earth wit and charm.
As for the live sound, it's nothing short of revelatory. This is one consistentency to what Boy & Bear do. They write great songs, telling remarkable stories, they produce polished records with a deliberate diligence and design, before hitting the road to bring each and every song those rare live qualities of vigour and immediacy.
Bridges opened the Friday night set with a pounding and bursting pride, unrelenting. The song itself is a standout on most recent LP Harlequin Dream, proof that Boy & Bear are still capable of pushing genre boundaries and deserving of their ARIA-award winning credibility.
Rabbit Song live is a raucous good time – especially loved by those who have been following the lads since the start of their journey. The kind of song from a band's back catalogue that seperates the diehard old-school fans from the newbies.
A dazzling moment of the evening came with a spotlight on drummer Tim Hart, elucidating his rolling introduction to Lordy May, a spectacular slice of Moonfire, resplendent with crash cymbal top hat.
Dave's distinctive vocals are sounding better than ever – possibly due to a chesty Spring cold or possibly a few too many late nights, there is a husky edge to his husky edge – and the way his voice breaks over his poignant lyrics is heart rending.
An exultant rendition of Milk & Sticks inspired one eager beaver to get up and dance. Indeed, as this tour is entitled the Get Up & Dance tour – it's only fitting people do. Even if a theatre such as The Palais with it's comfy seats and excellent viewing doesn't necessitate it. However, dancing in seats is also advised.
Seamlessly woven into the closing moments of its predecessor was the sombre but driving Back Down The Black, off Harlequin Dream. A Moment's Grace showcased majestic banjo-playing by Tim, who vacated his stool for a cucumber-cool Symes playing jungly bongo drums. Hoskings voice soared through Three Headed Woman, up into the decidedly falsetto regions of the theatre's high ceilings.
And then – a saxophone. In case anyone was needing some fancy-pants showmanship, they weren't disappointed by a brief but bountiful serving of the sexiest brass instrument going. A dang suave and lengthy guitar solo from Gavin extended the original Part Time Believer and made it even better. Sometimes more is more.
The Palais was treated to a spine-tingling rendition of a plaintive cry to the universe and a woman, penned by one of Australia's proudest Kiwi adoptions, Neil Finn. The much loved Fall At Your Feet was interrupted halfway by a delightful nod to Neil Houng's Heart Of Gold. Tim admitted that this week's Palais shows were the first performances of the Crowded House cover in well over a year.
The polished live game that was apparent at Boy & Bear's very beginning is still alive and well, now enjoying grand theatre spaces and pointy statue recognition.
After a generous 80 minutes, we arrived at the part of the evening where Dave tells us Boy & Bear never do encores – 'they just don't feel right'. Although 'shit can get real awkward', when people 'wait around like a really long time', and purportedly even get angry on occasion, this is admirable. Encores for the sake of it always seem a little anti-climactic and also expectant.
Launching into a celebratory rendition of Feeding Line, a red hot audience are in the palm of their entertainers hands, excitement peaks, with all of the warm and fuzzy feels on display.
The night's closing song Big Man was appropriately show-stopping. What could follow that, after all? Just magnificent. It's fair to say, a whole lot of happily satisfied people spilled out of The Palais on this chilly St Kilda night, comforted by all the good vibes shared with excellent and earnest live music.
Rebecca McCann
Boy & Bear write rhythmic, lyrical indie-folk as likely to induce barndance style foot-stomping as shivers down the spine in response to heartfelt stories of loss and life.
Frontman Dave Hosking is an enigmatic onstage presence, exuding the swagger of somebody totally centred in himself and what he does. He shares with his bandmates a confidence that is as steady as it is unassuming.
Killian Gavin wins hearts with his handsome beardedness, which is matched by mad skills on a fretboard. Long stretchy guitar solos are his thang, as are improvised musical meanderings between songs that he casually shrugs off – 'I was feeling it', he tells us by way of explanation.
The chemistry of Boy & Bear is heartwarming in its effortlessness. Their onstage banter flows easily, clearly of-the-moment. No onstage rivalry or ego-battles to see here. They captivate their audience with down-to-earth wit and charm.
As for the live sound, it's nothing short of revelatory. This is one consistentency to what Boy & Bear do. They write great songs, telling remarkable stories, they produce polished records with a deliberate diligence and design, before hitting the road to bring each and every song those rare live qualities of vigour and immediacy.
Bridges opened the Friday night set with a pounding and bursting pride, unrelenting. The song itself is a standout on most recent LP Harlequin Dream, proof that Boy & Bear are still capable of pushing genre boundaries and deserving of their ARIA-award winning credibility.
Rabbit Song live is a raucous good time – especially loved by those who have been following the lads since the start of their journey. The kind of song from a band's back catalogue that seperates the diehard old-school fans from the newbies.
A dazzling moment of the evening came with a spotlight on drummer Tim Hart, elucidating his rolling introduction to Lordy May, a spectacular slice of Moonfire, resplendent with crash cymbal top hat.
Dave's distinctive vocals are sounding better than ever – possibly due to a chesty Spring cold or possibly a few too many late nights, there is a husky edge to his husky edge – and the way his voice breaks over his poignant lyrics is heart rending.
An exultant rendition of Milk & Sticks inspired one eager beaver to get up and dance. Indeed, as this tour is entitled the Get Up & Dance tour – it's only fitting people do. Even if a theatre such as The Palais with it's comfy seats and excellent viewing doesn't necessitate it. However, dancing in seats is also advised.
Seamlessly woven into the closing moments of its predecessor was the sombre but driving Back Down The Black, off Harlequin Dream. A Moment's Grace showcased majestic banjo-playing by Tim, who vacated his stool for a cucumber-cool Symes playing jungly bongo drums. Hoskings voice soared through Three Headed Woman, up into the decidedly falsetto regions of the theatre's high ceilings.
And then – a saxophone. In case anyone was needing some fancy-pants showmanship, they weren't disappointed by a brief but bountiful serving of the sexiest brass instrument going. A dang suave and lengthy guitar solo from Gavin extended the original Part Time Believer and made it even better. Sometimes more is more.
The Palais was treated to a spine-tingling rendition of a plaintive cry to the universe and a woman, penned by one of Australia's proudest Kiwi adoptions, Neil Finn. The much loved Fall At Your Feet was interrupted halfway by a delightful nod to Neil Houng's Heart Of Gold. Tim admitted that this week's Palais shows were the first performances of the Crowded House cover in well over a year.
The polished live game that was apparent at Boy & Bear's very beginning is still alive and well, now enjoying grand theatre spaces and pointy statue recognition.
After a generous 80 minutes, we arrived at the part of the evening where Dave tells us Boy & Bear never do encores – 'they just don't feel right'. Although 'shit can get real awkward', when people 'wait around like a really long time', and purportedly even get angry on occasion, this is admirable. Encores for the sake of it always seem a little anti-climactic and also expectant.
Launching into a celebratory rendition of Feeding Line, a red hot audience are in the palm of their entertainers hands, excitement peaks, with all of the warm and fuzzy feels on display.
The night's closing song Big Man was appropriately show-stopping. What could follow that, after all? Just magnificent. It's fair to say, a whole lot of happily satisfied people spilled out of The Palais on this chilly St Kilda night, comforted by all the good vibes shared with excellent and earnest live music.
Rebecca McCann