CHECK OUT THE PIX FROM THE GIG HERE

It comes as no surprise that supporting bands often get the stumpy end of the music stick. Performing space is limited to that small strip of stage not occupied by an extravagant prepositioned percussion table and five oversized amps. Sound checks are brief, and any audience members who managed to show up on time are usually but a row of backs lined up at the bar. It’s a tough gig. For this reason, it was a rare thing indeed to witness The John Steel Singers, The Vasco Era and The Grates perform what seemed to be three headline acts, delivering equally impressive sets to the crowded HiFi house.

The John Steel Singers abandon a traditional warm-up opening as they star jump onto the stage sporting six cheesy grins and a cape. Horns, keys and snares rollercoaster gleefully through the HiFi: The John Steel Singers are either pathologically happy or suffering from a mild psychosis. I can imagine they’d tell us they were just high on life. Whatever the reason, their joy is wonderfully infectious and made for a cartwheeling set! A rollicking segue through Smashing the Speed of Sound and Rainbow Kraut earns a thwacking high five, with fantastic finger-crunching keyboarding from Scott Bromiley. When they eventually pause for breath, it is only for vocalist Trimmington Morrisey to share with us his love for a forest green cape he’s been twirling from his shoulders thus far. The cape is removed for logistical purposes, and placed ceremoniously onto the shoulders of trombonist Pete Bernoth. Evidently it won’t be the last we see of it. Rhapsody in Red brings the pace backwards a little, bearing a hilariously striking resemblance to the Thomas the Tank Engine theme. In fact so much of The John Steel Singers’ material could almost have been plucked straight from afternoon ABC viewing, with particular emphasis on the much loved Muppets. A “woo-hoo-hoo!” Strawberry Wine boasts the horn section typical of a Muppets furry fiesta complete with sliding optimistic harmonies, synchronised jumping and an Animal fro at the drum kit. Knots of laughter struck the entire venue when The John Steel Singers waved goodbye with Evolution; for a big finale, cascades of large colourful bouncing balls threw themselves at us from behind the back curtain. Following closely behind, three tambourines shimmy out into recognition: The Vasco Era had joined The John Steel Singers on stage for a final tambourine swinging sing-along. Kermit would be so proud.

The Vasco Era took a few moments to compose themselves before unleashing an assault of brash blues onto the audience. This was to be my first live Vasco Era experience, and I don’t mind saying that the fuss surrounding these guys is entirely founded. Sharing music from their album Oh We Do Like To Be Beside The Seaside, together with a wildly ball-busting cover of The Beatles’ Why Don’t We Do It In The Road, The Vasco Era are astonishing. I think it’s often tempting to create a kind of poetic hindsight to live music, to the point where you might wonder how accurate a description you have been provided with when you read about a ‘gloriously crocheted storm of blues/rock/grunge/delta/grooves/junkyard/rockabilly magnificence.’ The truth is you can never fully capsulate a sonic experience in 800 words or less. On Friday night Sid O’Neil addressed any undercover writers (present company included), offering “I’ll give you twenty dollars not to review us.” So I won’t. I’ll put it to you straight: This is a remarkable live act. Convulsing bass playing from Ted O’Neil, thundering drumming from Michael Fitzgerald and uniquely emotive vocals/guitar from Sid O’Neil are exceptional. They will blast your eardrums and then move you to tears. Find them. See them.

With a roar of applause, the unveiling of two giant glittered wind wheels welcomed The Grates to the stage. Alana Skyring, John Patterson and of course the incomparable Patience Hodgson complete a shiny stage, opening with Science Is Golden as the entire venue claps itself stupid. In her satin pink dress Hodgson proceeded to twirl, jump, bounce and shake her way around the stage with the kind of relentless energy that makes viewers exhausted. Musical accolades aside, her ability to simultaneously sing (well) and high kick was startling. The Grates have an impressive track record for writing memorable hooks, and had a powerhouse of crowd favourites to get through. Lies Are Much More Fun, Trampoline and Inside/Outside were classic stand outs.

Understandably it was the material from new release Teeth Lost, Hearts Won that the group seemed to have the most fun with. Furious drumming from Skyring during Carve Your Name was particularly memorable; as Hodgson exclaimed, “She’s an AWESOME drummer!” (Gotta love a self-plug…) Guitarist Patterson on the other hand seems content to stay side-stage, leaving enough room for the ribbon-twirling, voodoo stick-shaking, leg-kicking that is Patience Hodgson. It’s endearing to see her take an occasional moment to close her eyes and appreciate the notes she sings – she knows that throwing herself off a fallback amp is no substitute for a good vocal performance. Remarkably this playful energy accelerates through Aw Yeah and Burn Bridges, following through with an equally powerful homage to motherhood, Milk Eyes. With the audience wrapped tightly around her finger, Hodgson later joins the pit of beaming dancers before warranting a ground shaking cheer, assuring us that Melbourne is “way more mental than I ever expected!” We all gush. With another uproar of chanting and applause, an appreciative crowd joined Hodgson for one last leg kick as 19 20 20 threw the venue into a bouncing seizure. Evidently the HiFi should have installed springboards in preparation for The Grates.

Note: Could Sid please post my twenty dollar cheque at his earliest convenience care of FL