Appropriately, The Getaway Plan named their most recent tour after the song that has taken the band to the next level Where the City Meets the Sea. They’re experiencing hype and crowds like never before and headed back to home town Melbourne for two sold out gigs at the Hi Fi.
First indication of a band really hitting their straps is the quality they bring along on tour to support; and both Closure In Moscow and Goodnight Nurse were impressive.
Fresh from the excitement of signing to Science Records and moving to Orange County California to record their first full length, Closure In Moscow opened the night showcasing tracks from their “albumette” The Penance and The Patience. Getting in touch with his feminine side, vocalist Chris De Cinque fronted in a body-hugging gold dress, black leggings and lovely red lipstick to complete the outfit. The obscure choice matched the bands unique style of music that could have sounded messy reproduced on a live stage if not executed on time and in tune. They pulled it off.
The set opened with their strongest We Want Guarantees Not Hunger Pains and The Getaway Plan’s Matthew Wright added a higher pitch to complete Breathing Underwater. As a whole the band performed a tight set and luckily for De Cinque his bold fashion choice was backed with a strong vocal that was clear and distinct.
After a routine interchange that lasted for longer than the first performance, Goodnight Nurse was next having “swum across from New Zealand for this tour”. Bassist Rowan Crowe was in full swing and seemed to enjoy his birthday bash away from home. In contrast to the openers, their sound is easier to classify – punk rock with catchy pop melodies. Two favourites from their first record My Only and Death Goes to Disco were well received but it’s their hard-rocking cover of the pop tune Milkshake that still remains the highlight. Maybe they too are in touch with their feminine side, bringing “all the boys to the yard” and making them go crazy.
While Joel Little’s vocals don’t have the range to match the night’s other singers, with three voices adding to the band’s chorus’ they show some diversity to their simple-structured tracks. They finished with their new single The Night from the forthcoming album Keep Me On Your Side.
The stage was given a make-over with graphic screens shielding the amps and the album cover picture as the back banner set for The Getaway Plan. Intent on establishing mood, the orchestral Carmina Burana (or as the drinkers sang “It’s a big ad”) gave the headliners their grand entrance.
They offered Streetlight two tracks into thier set to an animated response and broke it down with Matthew Wright on keys before launching into the moment of the night – indeed the punch line and an almighty scream. This was something that continued throughout, adding small intros and different arrangements to the recorded material. Shadows and Sleep Spindles also from their debut LP Other Voices, Other Rooms and the outstanding single If Suspense Doesn’t Kill Us Something Else Will combined early in the set for one big twenty minute highlight. In fact the entire set showcased all that is great about The Getaway Plan.
With their long hair covering most of their faces, both Clint Splattering and Dave Anderson controlled their output, with Splattering continuing to change guitars and introduce new sounds to the live set. Although they are both great players, vocalist Wright was the centre of the performance, providing most movement and bringing the tracks to life. He delivered close to a flawless vocal, which varied from the more melodic sound to the hard-core screams often within one individual song. But that’s what makes them great. The quick hands of Aaron Barnett deserved the spotlight. Possibly a drum intro would have suited as his flipping and hitting skills seem to come at ease.
There were a few minor mishaps – breaking down a track but failing to kick back in on the right beat. A quick 1,2,3,4 from the drum sticks and it was only a short lapse that some may not have noticed.
The hit single Where The City Meets The Sea wasn’t performed at the standard expected of the Getaway Plan with Wright on guitar restricting his performance to match the likes of Streetlight. Rhapsody On A Windy Night was an energetic encore to back the recognisable single to exemplify all that is The Getaway Plan.
