Simone Felice, Josh Ritter @ The Corner Hotel, Melbourne (11/06/2012)
Once inside the iconic venue of the Corner Hotel in Richmond, I immediately realise this is the type of serious music-going audience I love to be a part of. A diverse cross-section of all ages, it's the sort of audience that folk and jazz artists often draw.
I love this type of audience for a few reasons. For starters, noise levels are at a minimum. People are there because they are bona fide fans, not because the band is trendy. The high percentage of over-40's in the crowd ensures you won't have Carlton Draught spilt on you. Furthermore, because the artists are not necessarily known in mainstream or Triple J-listening circles, there is often space to breathe as the venue is not to capacity. (Great for audience members, not so great for musicians).
This night of live music, I'm especially grateful for the mature crowd as I am full of a cold and not in the mood for raucous 20-year-olds and hipster wankers.
Josh Ritter is the first to perform on the double-bill, and he does not disappoint. Not unless you arrive 10 minutes late and the first song in his setlist is your favourite. 'Monster Ballads' opened his set, and I can only imagine it was wonderful.
'Girl In The War', also from The Animal Years LP, was exceptionally executed live and a crowd favourite, prompting what was not the first or last singalong of the night. The poignant song was played un-amplified, and I defy any audience member who says they didn't have chills down their spine.
A soft acoustic version of 'Folk Bloodbath' had the silent crowd transfixed. 'Galahad' showed off Ritter's storytelling sensibilities and sharp sense of humour, drawing laughter from the charmed crowd.
Ritter chats easily between songs, regaling the crowd with anecdotes about koalas and a spider called Nathan. He also entertains the audience while reflecting on his failed career as a rugby player.
Josh Ritter has a joyous on-stage presence, a grin as wide as the cheshire cat, sparkling eyes and natural charm. You can't help but enjoy a performer enjoying themselves so thoroughly.
I went to the gig unfamiliar with Simone Felice, and left an enormous fan. The word 'artist' has never been more appropriate when describing a musician. The man becomes a writhing embodiment of the songs he is singing, engaging not only the audience but every member of his band. His persona is a bizarre yet totally electrifying hybrid of Robbie Williams and Kristian Matsson.
Felice opens the set with a favourite off his solo album, 'New York Times'. His electric guitar ripped through a crowd so silent you could hear a pin drop. The drama of the moving ballad built to a stirring close, and I knew I was in the presence of something great.
Felice performed with a full band, including a striking violinist and backing vocalist with whom he shares a sizzling on-stage chemistry. His band exited the stage so the enigmatic frontman could perform an acoustic 'Charade', until the afro-ed violinist rejoined Felice to perform a chilling solo.
The band's cover of Dylan's 'I Shall Be Released' was a joyous rendition to close the set. Felice returned to the stage for a solo performance of Pink Floyd's 'Wish You Were Here', before a rousing finale with full band and Josh Ritter of 'Helpless' and 'Knockin' on Heaven's Door'.
Wednesday the 11th of July at The Corner Hotel was a rare and special night of collaborative live music that won't be forgotten in a hurry by us lucky few.
Rebecca McCann
I love this type of audience for a few reasons. For starters, noise levels are at a minimum. People are there because they are bona fide fans, not because the band is trendy. The high percentage of over-40's in the crowd ensures you won't have Carlton Draught spilt on you. Furthermore, because the artists are not necessarily known in mainstream or Triple J-listening circles, there is often space to breathe as the venue is not to capacity. (Great for audience members, not so great for musicians).
This night of live music, I'm especially grateful for the mature crowd as I am full of a cold and not in the mood for raucous 20-year-olds and hipster wankers.
Josh Ritter is the first to perform on the double-bill, and he does not disappoint. Not unless you arrive 10 minutes late and the first song in his setlist is your favourite. 'Monster Ballads' opened his set, and I can only imagine it was wonderful.
'Girl In The War', also from The Animal Years LP, was exceptionally executed live and a crowd favourite, prompting what was not the first or last singalong of the night. The poignant song was played un-amplified, and I defy any audience member who says they didn't have chills down their spine.
A soft acoustic version of 'Folk Bloodbath' had the silent crowd transfixed. 'Galahad' showed off Ritter's storytelling sensibilities and sharp sense of humour, drawing laughter from the charmed crowd.
Ritter chats easily between songs, regaling the crowd with anecdotes about koalas and a spider called Nathan. He also entertains the audience while reflecting on his failed career as a rugby player.
Josh Ritter has a joyous on-stage presence, a grin as wide as the cheshire cat, sparkling eyes and natural charm. You can't help but enjoy a performer enjoying themselves so thoroughly.
I went to the gig unfamiliar with Simone Felice, and left an enormous fan. The word 'artist' has never been more appropriate when describing a musician. The man becomes a writhing embodiment of the songs he is singing, engaging not only the audience but every member of his band. His persona is a bizarre yet totally electrifying hybrid of Robbie Williams and Kristian Matsson.
Felice opens the set with a favourite off his solo album, 'New York Times'. His electric guitar ripped through a crowd so silent you could hear a pin drop. The drama of the moving ballad built to a stirring close, and I knew I was in the presence of something great.
Felice performed with a full band, including a striking violinist and backing vocalist with whom he shares a sizzling on-stage chemistry. His band exited the stage so the enigmatic frontman could perform an acoustic 'Charade', until the afro-ed violinist rejoined Felice to perform a chilling solo.
The band's cover of Dylan's 'I Shall Be Released' was a joyous rendition to close the set. Felice returned to the stage for a solo performance of Pink Floyd's 'Wish You Were Here', before a rousing finale with full band and Josh Ritter of 'Helpless' and 'Knockin' on Heaven's Door'.
Wednesday the 11th of July at The Corner Hotel was a rare and special night of collaborative live music that won't be forgotten in a hurry by us lucky few.
Rebecca McCann