Martin Craft @ NorthcoteSocial Club, Melbourne(03/02/2008)

Thu 7th Feb, 2008 in Gig Reviews

I convinced my friend that Martin Craft was worth a look, that his music had even been dubbed – œSoul music for modern times’. The now London-based, Australian singer/songwriter ( former front man of 90’s rock outfit Sidewinder ) was ready to bring his delicate tapestry of magic to the NSC, and I was excited.

Because it’s very difficult to try and peg Mr. Craft, almost in the same way it is with Beck. One minute you’re thrown into a bossa nova shuffle, and then lulled by a gentle Drakesk folk song. This is what appeals to me about the man; his diverse subtle range of musical appreciation. And you’ll find everything from Sergio Mendes, Elliott Smith and Nick Drake, Bacharach and even Serge Gainsbourg. A mixed bag of material; stubbornly unfashionable yet at the same time maintaining style and well, craft.

The crowd stirred attentively as the curtains were pulled back to reveal Martin in an olive shirt with hair slicked to one side, and his band, including his brother Nick Craft. They don’t hesitate and launch straight into the honey coated – œSweets’, casting a shadow of the late Elliot Smith. The applause is a positive sign and it’s straight into the album title track – œSilver and Fire’, with some sparkling glockenspiel from Michelle Helen who wore a perfect red dress. The song swings and builds and we are all taken on a magical roller coaster ride where only the night exists. After a brief pause (as the band find their bearings) we were treated to – œEmily Snow’. With it’s lounge chords and dreamy feel, it’s certainly a tip of the hat towards Gainsbourg. The song comes to a close with a great reception and Martin introduces the band members: Matthew Sigley (local) on bass, Paul Cook (from London) on drums, Michelle Helen on keyboard and glockenspiel and, of course, Nick Craft, brother in arms on guitar.

Nick shouted out some brotherly slang, which only the two understand and laugh accordingly, giving the audience a glimpse of their extensive and arduous history. – œThe Soldier’ comes storming out, with a steady hypnotic beat and chanson type backing vocals from Helen. “I’ve been fighting in distant wars,” sings Craft fluidly. “What do I do for your love?” It comes together effortlessly with this track. A perfectionist could pick the looseness of the band, but I’m not here to listen to a well wound clock. There’s a sentimental beauty about the swing and freedom within the music. Next we were introduced to – œNobody waiting for me’. “This next song’s about being single and sometimes liking it and sometime not,” Craft admits. Personally, it was one of my favourite tracks, with its waltz swing, beautifully plucked banjo by Matthew Sigley and introspective lyrics.

The crowd received each song warmly and with a rapturous enthusiasm, almost as a homecoming. “Me and Nick used to listen to this song as we were hooning down the highway to Melbourne. It’s one of his specialties this riff,” Craft announced as Nick began playing a familiar riff, which brings me back to my old school days. It’s the Cult’s – œShe Sell Sanctuary’, and Martin and the band give it justice; even in this understated fashion it shimmers, jangling and unembellished. Martin then teases his brother, joking that he should post Goth photos of a 15-year-old Nick Craft. That I’d like to see! The commercial pop/disco – œYou are the Music’ was given a run through, and even my friend shook her head. The band performs the song with as much gusto as they can muster yet Nick looked like he’d been forced to chew nail clippings. This is a catchy Triple J favourite, and – yet to me – it feels out of place with the set and the album. Obviously, an intentional grope at the radio masses, which seems superfluous in comparison to Crafts much stronger pop masterpieces. Yet the crowd seems to love it, they are there for him, completely.

The band then exploded into what could be the remains of a Big Star tune with – œLucile’; a perfectly crafted pop song. For me it just didn’t hit the mark and came across a bit dim (I was holding out for – œSnow Bird’). – œLove knows how to fight’ is delivered with sincerity, and by this stage Martin’s shirt is covered in sweat which only adds to the sincerity as he sings “Darkness wrapped in light” several times towards the coda. “This next one really is about one of the good things in the world,” he mused as he picked out the familiar chords to – œDragonfly’, a now signature song for the man. Martin bantered with calm amusement and made the crowd laugh as he entered into the first verses, taking advantage of his velvet coated voice, dancing over a recurring acoustic riff. What struck me about this song live was the space given in the music, and the wonderfully unadorned pulse of Cook’s beat, acting as clockwork. That’s all that’s needed.

With the shortest encore I’ve ever witnessed, the band barely left the stage to return with more applause. Martin joked about it, and poked fun at his brother for using his ipod as he searched for a backing track, then coming up with snippets of songs from bands such as – œThe Sisters of Mercy’; highly entertaining the tame crowd during a long pause. Finally, Martin found the backing track loop and the band eased gracefully into – œCome To My Senses’. This is where Martin and his band really shine; between this engaging pop sensibility and the avant-garde, retro grooves (with some very funky bass lines at that). This is what I wanted to hear more of. The night was nearly drawn to a close yet as Mr. Craft announces his last song, I scream out “Snow Bird”, along with a few other intoxicated punters. I quickly shied away, realising what I started; a Snow Bird revolution. The poor guy had no choice, especially when his band have been itching to play it. As he explained: “I’m warning you, we don’t know how to play it”. Yet, play it he does and the band followed step, immaculately. Craft rose into gear as the band began to rock it up with the vehemence it deserves. Nick Craft – especially – shines in this song and played a little dirtier than usual, and he was smiling. In fact, the song doesn’t sound unrehearsed at all and given the immerse applause, it’s a mystery as to why Craft would consider leaving it – œout’ of his set in the first place. Definitely a highlight of the night.

Martin introduced us to his final song; the heart wrenching and stunning – œTeardrop Tattoo’. He tells us the sad story of a 17 year old girl he knew in Sydney who was murdered. “I used to say hello to her every day, she was a sweet little thing and one day I read in the paper that she’d been killed and stuffed behind an abandoned fridge”. The crowd quickly fell silent, and Martin headed straight into a verse: “We were dark eyed children in a neon world, where men hid in the shadows of silhouetted girls”. He conveyed pure emotion as his crystal voice wavered from the saddest parts within, and you can feel it. This song really means something to him, and now to us. Not a body in the room budged. Gentle growing brushwork from Paul Cook crept in along with twinkling glockenspiel adding a very tasteful and sensitive touch. “All he ever cried was a tear-drop tattoo,” he grieves, as everyone is lulled into an instrumental finale. Martin quickly said goodnight and the curtains were drawn, leaving us heartbroken and wondrous at the same time. Martin Craft is an accomplished singer/songwriter of grand conviction and ingenuity. I’m converted.

Check out the photos from this show here courtesy of invadercee.