The Lumineers, D.D. Dumbo @ The Palace Theatre, Melbourne (23/01/2014)
Supporting the international headliner was an emerging talent out of Castlemaine, Victoria. Armed with jaunty rhythms and bluesy swagger was the one-man show who features in Triple J's Next Crop list for 2014, D D Dumbo.
He used a loop pedal to create a bigger sound, with thumping drums and a vocal quality reminiscent of Kings of Leon and Jeff Buckley on Sketches.
His textured and layered sound builds and echoes, while retaining a raw grit – even The Lumineers seemed impressed, as they enjoyed from side of stage. Fittingly, The Tallest Man On Earth played over the speakers as roadies set up stage for the main event, all the way from Denver, Colorado, and anticipation was thick.
The moment The Lumineers took the stage, the ambience at the beautiful Palace theatre took on a distinctly barn-dance mood – all barefoot, boot-scooting, foot-stomping jig. The energy of the five multi-instrumentalists who are the touring band is refreshingly grounded and infectious. I defy anyone in their presence to resist their very Americana charm.
Opening with Classy Girls, The Lumineers stole Melbourne's heart effortlessly. Their music is warm, big-hearted, timeless and defined by its decidedly organic components – every woodwind, stringed and percussive instrument you can imagine is on stage. They write songs with soul, rich melodies and cello moments that will melt even the hardest of hearts. Live, they are better. Live, we get to share in the on-stage antics of the hyperactive, bespectacled pianist Stelth Ulvang, the swagger of songwriter and percussionist Jeremiah Fraites, and the undeniable magnetism of lead singer Wesley Schultz, who fearlessly pours his soul into every song.
Their hugely successful debut self-titled album made waves in 2012, with help from the irresistible single Ho Hey. The beauty of the album is that no song is disappointing. The live show is a generous hour and a half long, including stellar renditions of every song and a handful of covers (including Bob Dylan).
The crowd were not merely detached bystanders, as half of the band came down to ground level for a couple of songs – Ulvang balanced precariously on the banisters of the 1st tier, banjo in tow, further proving himself the most eccentric of the troupe (he also danced atop the piano and drums, showing a ballerina's grace, it must be said).
Other noteworthy moments included a stirring version of Charlie Boy, for which the stage was vacated, save for Schultz and lone female Neyla Pekarek with a cello.
The obvious and outstanding highlight of the night was as it is on the album, Stubborn Love. Schultz had an adoring audience eating out of his hands as conducter, for what was perhaps the most soulful and enthusiastic mass singalong I've ever been a part of.
We also got a taste of their composition for The Hunger Games soundtrack (which sounds much excellent than the film), and a duet off the next album between Schultz and Pekarek – a ballad about falling in love, which felt altogether apt.
No way can better describe the overall feels of experiencing The Lumineers live from the front row – it was like falling in love, again and again and again. I left with stars in my eyes and butterflies on the inside.
Rebecca McCann
His textured and layered sound builds and echoes, while retaining a raw grit – even The Lumineers seemed impressed, as they enjoyed from side of stage. Fittingly, The Tallest Man On Earth played over the speakers as roadies set up stage for the main event, all the way from Denver, Colorado, and anticipation was thick.
The moment The Lumineers took the stage, the ambience at the beautiful Palace theatre took on a distinctly barn-dance mood – all barefoot, boot-scooting, foot-stomping jig. The energy of the five multi-instrumentalists who are the touring band is refreshingly grounded and infectious. I defy anyone in their presence to resist their very Americana charm.
Opening with Classy Girls, The Lumineers stole Melbourne's heart effortlessly. Their music is warm, big-hearted, timeless and defined by its decidedly organic components – every woodwind, stringed and percussive instrument you can imagine is on stage. They write songs with soul, rich melodies and cello moments that will melt even the hardest of hearts. Live, they are better. Live, we get to share in the on-stage antics of the hyperactive, bespectacled pianist Stelth Ulvang, the swagger of songwriter and percussionist Jeremiah Fraites, and the undeniable magnetism of lead singer Wesley Schultz, who fearlessly pours his soul into every song.
Their hugely successful debut self-titled album made waves in 2012, with help from the irresistible single Ho Hey. The beauty of the album is that no song is disappointing. The live show is a generous hour and a half long, including stellar renditions of every song and a handful of covers (including Bob Dylan).
The crowd were not merely detached bystanders, as half of the band came down to ground level for a couple of songs – Ulvang balanced precariously on the banisters of the 1st tier, banjo in tow, further proving himself the most eccentric of the troupe (he also danced atop the piano and drums, showing a ballerina's grace, it must be said).
Other noteworthy moments included a stirring version of Charlie Boy, for which the stage was vacated, save for Schultz and lone female Neyla Pekarek with a cello.
The obvious and outstanding highlight of the night was as it is on the album, Stubborn Love. Schultz had an adoring audience eating out of his hands as conducter, for what was perhaps the most soulful and enthusiastic mass singalong I've ever been a part of.
We also got a taste of their composition for The Hunger Games soundtrack (which sounds much excellent than the film), and a duet off the next album between Schultz and Pekarek – a ballad about falling in love, which felt altogether apt.
No way can better describe the overall feels of experiencing The Lumineers live from the front row – it was like falling in love, again and again and again. I left with stars in my eyes and butterflies on the inside.
Rebecca McCann