CHECK OUT THE PHOTOS FROM VHS OR BETA’S SYDNEY SHOW HERE.

Saturday night: Yves Klein Blue support VHS or Beta at The Factory Theatre in Enmore. From outside The Factory looks like a shipping container blown out of proportion. Inside it feels like a post-industrial Noah’s Ark, or a public school hall. The unifying feature of the bar, reception area and hallways is a carpet with a colourful geometric pattern from the bad part of the ‘80s. Behind a black curtain partition lies the main stage, a vast dancefloor in front of a tall platform. The height of the stage makes it easy to see, but puts a long distance between performers and their audience.

Brisbane band Yves Klein Blue was an upbeat support act. Their sing-song rock rhythms had a square dance kick and a bounce that complimented the funkier side of VHS or Beta. Yet they struggled to bridge this distance. Apart from the usual band of excitables in front of the stage, the audience was still, stirring their drinks and shifting their weight from one foot to the other. Talking, and staring, big eyes and no smiles. Nevertheless, Yves Klein Blue played on; audience numbers grew. By the time they made way for VHS or Beta, there was a sizable crowd. Not a good crowd.

VHS of Beta’s management may have deliberately selected this venue for its wide open spaces. For this show the band pulled every trick in the book to sound expansive, even spacey. Intense foldback. Epic bridge sections. Three guitarists at once. The band was simulating space to fill up space. It makes sense, their album Bring on the Comets from 2007 refers to the infinitesimal distances travelled by comets and other space junk. I felt these distances in their sound, and in the venue.

The show was technically proficient. And while the big guitar effect was at times long-winded, the performers demonstrated versatility. Mark Palgy did an exceptional job on bass, using strong funk rhythms to constrain the guitars and turn the rock into dance. With Chea Beckly getting behind the keyboards, they developed an electronic sound that was more Datarock than Dappled Cities Fly. If nothing else, these synth- and bass-driven melodies were enough for the audience to dance to. Or bat their eyelids to.

People were less solid than they had been for Yves Klein Blue, but not energetic. And they dressed how they moved, in not-bothered casuals. The slouch clothing, slip on shoes, block colours and bowl haircuts is a no-effort look you can throw on before you wander out. A couple of weeks ago I attended a Cloud Control gig at Spectrum where the audience was casual and light-hearted. This was casual and lazy. And I suspect it’s because the venue overwhelmed the scene, rather than gathering it together.

There were a lot of people at The Factory on Saturday night. But I think the show would have been better suited to Oxford Art Factory, or even The Annandale Hotel. They’re less spacious, people dance. But when the band played their final track and yelled, “You Australians know how to have fun,” I thought I should ask around. “What did you think of the show?”

Luke, 25: “Good. My flatmate works for EMI so I got a free ticket. I danced, and that’s a good sign.”
Bree, 26: “Good. I hadn’t heard them on the radio. My fiancée introduced me to the band, I didn’t realise they were a dance band.”
PhDJ, 28: “They were awesome. They played perfect danceable indie pop.”
Martin, 28: “No, that’s what I thought. What do you think?”