Cuthbert & The Night Walkers @Hopetoun Hotel (17/02/2008)

Mon 18th Feb, 2008 in Gig Reviews

The beauty of the Hopetoun is that most often it is a family affair. The third installment of Cuthbert and the Night Walkers February residency is no exception.

Uber nerds John Columbus open the evening with a set of psychedelic pop and the sublime. Frustratingly timid, beware, the four piece resemble Morrissey meets the Shins on acid. When they belt it out they offer glimpses of brilliance, however these moments are far and few between, the only relief being when vocalist Alex banters with mates in the audience, revealing they don’t take themselves too seriously. A little of the humor brings a softness to the stage which, perfectly matched to their delicate floating melodies is reminiscent of that which would suitably roll during the credits of a quirky indie film. Shins beware.

The Maladies have no songs listed on their MySpace page, doing themselves a great disservice. This leaves the audience quite surprised on experiencing the Sydney 4 piece. Opening with a soft acoustic (nylon stringed a capella) ballad we are lulled into a false sense of security. When the rest of the band join Danielle on stage we are thrown into a frenzied collection of songs reflective of influences Tom Waits, and Nick Cave. Screaming into the microphone, pointing in accusation, I feel like I’ve just met Danni Di Vito reincarnate as the devil. As the set continues the softer side reemerges with another ballad, leaving me slightly confused. The Maladies are at their best when they play together loud, fast and as accomplished musicians.

As big bands are all the rage right now ( think Arcade Fire, Architecture in Helsinki and to a lesser extent The Polyphonic Spree ) Cuthbert and the Night Walkers offer poignant pop songs delivered with refreshing enthusiasm and theatrical cheek.

The Night Walkers – being 5 lovely vocally gifted ladies, Cuthbert and 4 others – a bassist, percussionist – I’m thinking Xylophone – and a pianists (in addition to 2 x Korgs) make up both the band and a house. Living with band mates evidently provides Cuthbert with enough creative inspiration to produce tales of suburban communal living, as is only natural in Sydney’s inner west.

Ranging from a story about a hated Bed, a song entitled Catholic Guilt (most likely a result of the trying to attempt sex in the hated bed as admitted by Cuthbert) and a Kettle, the set is splintered with Cuthbert’s narrative and jokes amongst band and audience. A song about Newtown ensues, closing the evening with a little ditty called Red Frogs – a crowd fave, promised not to be played next week.

A selection of new tracks (the bed being one) and brilliant harmonizing provide a large sound driven by Cuthbert’s pop melodies and outstanding voice. As is Hoey tradition, and truly a family affair with one brother in John Columus, the other in Cuthbert, a finale with members of all three bands provided a rather large end to a delicately interwoven set of cute love songs and domestic tales.

I was pleasantly surprised to find 10 young, seemingly grounded individuals. I wonder who’ll be doing the dishes?