Tag Archives: the hi-fi

Live review: Cody Chesnutt + The Cheap Fakes – The Hi-Fi, Brisbane – 20/10/13

Cody Chesnutt

Some gigs promise much but deliver little. Fewer promise little but deliver much. Probably even fewer again promise much and deliver even more. But what type would tonight’s gig be? This particular Atlanta new-age soul brother – whose new record evokes smooth and dreamy mental images of Prince, Marvin Gaye and Southern-fried gospel – is in town for one night only, and for a soul gig in Brisbane on a Sunday night, perhaps expectations shouldn’t be high.

Enter Cody Chesnutt; a man who will take your expectations of the gig, the evening, and even your life, and lift them tenfold. Tonight, he would not only deliver more than could have reasonably been expected; tonight he’d take this Brisbane audience to church.

Support for tonight comes partly in the form of Brisbane’s own ska-party real-deals, Cheap Fakes. The classy six-piece run through an entertaining set of tight, danceable ska jams that instantly makes Sunday night feel like a Saturday again, as the dreaded Monday blues are fought off with vigour. Starting with ‘All I Know’, the six-piece led by engaging frontman Hayden Andrews are stylish and smooth and as the sound builds and each member solos like their lives depend on it, the audience knows they’re no fakes. Andrews announces the fact that “We’re really honoured to be supporting Cody Chesnutt. He’s been one of our favourite artists since his first album. You guys are in for a treat.”

Treat indeed. After a lengthy setup time, the impossibly cool Cody Chesnutt and his band of four take to the stage; the man himself in trademark blue army helmet and red cardigan, looking lean, mean, and ready to rock our worlds. Not content to rely on older, more familiar material, the set is comprised of songs mostly taken from his latest album, Landing On A Hundred, and lacks nothing for it. “Do you wanna listen to some soul music tonight? Let me hear you say YEAH!” he screams, and the audience respond from the off.

Starting with ‘Everybody’s Brother’ with it’s anthemic chorus, Chesnutt proves himself immediately to be a worker of crowds of the highest order as he has us eating out of his hands within minutes of being on the stage. As we sing “no turning back” loudly, then softly, then loudly again at his direction, Chesnutt grins, poses, sweats and beats around the stage with the energy of a man half his age, and we know we’re in for a pretty special night. This music is the very essence of soul, and Chesnutt knows the importance of putting everything into it and leaving nothing in the tank.

‘What Kind of Cool (Will We Think of Next)’ is next, and this is where his band of hand-picked musicians get their first chance to truly shine as they solo. It’s also apparent at this stage that this will be one of those gigs that goes for ninety minutes but only features about seven or eight songs, as the band jam and songs melt into the fabric of each other and back out again. ‘More Than A Wedding Day’ is next, and Chesnutt explains it is his favourite of the album, being the song that comes closest to describing his recent redemption and acceptance of family responsibilities and dedication to his craft, followed by ‘Where Is All The Money Going?”, which allows Chesnutt to flaunt the range of his vocals and once again lead the crowd in a sing-along. “Even a whisper is powerful,” he declares, “Because everyone in this room is united right now.” Never a truer word.

One of the most monumental roars I’ve ever heard in the Hi-Fi brings the singer back for an encore, and as he walks through the audience shaking hands and hugging strangers, there’s not a face in the house that doesn’t have a big goofy grin plastered across it. Cody Chesnutt is a man who knows how to deliver.

Live review: Dead Letter Circus + Closure In Moscow + Sleep Parade – The Hi-Fi, Brisbane – 14/9/13

Those of us whose ears still have that droning mrrrrrrhhhhh sound resonating from BIGSOUND and related gigs should probably have stayed at home tonight, instead of heading along to West End’s The Hi-Fi Bar to catch bands whose volume levels could be described as toweringly gargantuan, at the very least. But alas, here we are; our battered ear-drums present and correct to take another beating at the hands of one of Brisbane’s finest alt-rock bands of late. Ear-plugs have never been my thing; I see wearing them at a gig as like going to a pie-eating contest and taping up your mouth, although I’ll probably revise this approach when the pain of hearing even the softest folkie becomes too much. Secretly and somewhat desperately, I’m banking on bionic ears being readily and cheaply available from Big W or K-Mart by the time I hit retirement age, otherwise I’m pretty much fucked. Either that or I’ll have walked in front of a bus by 35, having not heard it barrelling towards me at 110 kph with horns blaring. So it goes.

The first band to take several years off my hearing lifetime tonight is Sleep Parade; the Melburnians putting in a solid set of searing guitar lines and apocalyptic drums, despite being a bit cramped to the front of the stage so as to avoid the range of gear laid out for the head-liners. A large and enthusiastic crowd has already made The Hi-Fi close to uncomfortably full, and give the alt-rockers a rapturous response, especially after singer-guitarist Leigh Davies does the old playing-the-geetar-with-the-teeth trick. Nice.

Next up is a band who are also capable of putting out suitably massive amounts of sound to further reduce my chances of listening to Keith Richards’ 100th birthday concert; Closure In Moscow. The Melbourne prog-rockers take to the stage after some time and blare out monumental levels of noise, centred on the grandiose lead vocals of front-man Christopher de Cinque. Yeah, he might look like an avant-garde Vince Neil circa 1987 and dress like a dandified Goth complete with silk shirt, gold medallion, and shorts so tight they remind me of the time I wrapped the Christmas ham in cling-film, but he has a voice strong enough to make all the luminous skull-waving silliness seem like a secondary part of the show, and nothing more than a bit of harmless fun.

Closure In Moscow
Closure In Moscow

Dead Letter Circus enter from stage right at around 11:30, and after only a couple of notes from Stewart Hill’s bass I know the future is bleak for being able to hear stuff. First up is opener from latest album The Catalyst Fire ‘The Cure’ followed by ‘The Mile’ and ‘Reaction’. After ‘Alone Awake’ huge chants of “D.L.C! D.L.C!” reverberate around a by-now close-to-capacity Hi-Fi. Security guards here have a reputation for zero-tolerance in regards to crowd-surfing and moshing, and it’s at this point one particular thrill-seeking lad is hauled from his lofty position atop a couple of dozen audience members’ heads and slung back into the crowd where he is suddenly introduced into my world with a sudden clash of skulls. Well played Mr. Security Man – don’t you just have a giant pair of primitive balls that we should all be so impressed with, ya big fuckin’ knucklehead? Never mind, as by the time the on-fire band get to new single ‘Lode Star’ the audience has lost their collective shit and is enjoying the sounds and spectacle as one. After an encore including a massive ‘Next In Line’ we make for home, and as I cross Victoria Bridge with an even bigger mrrrrrrhhhhh sound in my ears for accompaniment, I’m grateful for the lack of buses running at this time of night. Well played, Dead Letter Circus.