The Butterfly Effect @ QBH,Melbourne (30/10/2008)

Sat 1st Nov, 2008 in Gig Reviews

“One of the best live bands? That’s old news. That’s not us anymore. We got blown out of the water…” – Ben Hall, July 2008

There’s something really satisfying about proving a band wrong. Especially when they are the ones to prove themselves wrong.

Sleep Parade kicked off proceedings on the night, playing a fairly predictable set – the setlist comprised of tracks from their stellar debut Things Can Always Change including Carry On, One Track Mind and Weeping Walls, complete with vocalist Leigh Davies singing into the pickup of his guitar. Fortunately, Sleep Parade are always a pleasure to witness live, but a varied set is something I’m still holding out for.

Trial Kennedy appeared on stage not long after, emitting groans, yawns and sighs from my little coterie and our surrounds. The third performance I’ve witnessed so far this year, and still not convinced by them. Colour Day Tours had more then a few dancing along, blandly mouthing the lyrics but jumping in for the – œDa-da-da-da-da-da’ part, and closing track Neighbours was warmly received, but other then these two highlights (defined in the broadest possible terms), the performance was lacking to say the best. Over at the merchandise tent where the TK boys hung out post set, a cute little sign hid itself between the t-shirts. “All stupid questions will be fined $2.” But questioning their performance surely couldn’t be construed as stupid, right?

The lights dimmed for a third time, spotlights on the stage revealing artwork from The Butterfly Effect’s newest work Final Conversation of Kings. Vocalist Clint Boge was resplendent in his blue officer’s jacket, complete with gold trim that left me wondering if filching it at some stage would be considered both unprofessional and wrong. Worlds on Fire opened to rapturous applause as the patrons jostled forth to greet the band. Possibly the most progressive piece on the album, with the underlying Muse influence, guitarist Kurt Goedhart flaunted his skill in the uplift phase of the track, sinuously moving as one with the tunes, hypnotizing the enthralled crowd.

Room Without a View followed, to the delight of the punters , whose screams, often drowned Clint’s vocals. A Slow Descent followed as the venue exploded into a hive of singing, cheering and dancing. One Second of Insanity and first single of the new record Window and the Watcher followed in quick succession, before Final Conversation calmed the feel of the room down and gave everyone a moment to breathe.

Reach kicked the performance up a notch, and it was clear to all that the band were enjoying themselves immensely on stage with Clint and bassist Glenn Esmond grinning at the eager fan who jumped on a mate’s shoulders and reached out to the band at the appropriate moments, which carried on into Aisles of White.

Rounding back into the new track category, The Way and In These Hands kept the enthusiasm levels high as Clint stripped off the jacket to allow more freedom of movement. Drummer Ben Hall looked as if he wished he could do the same, methodically thumping away, sweat streaming down his face. The one-two punch of The Cell from The Butterfly Effect EP followed by Gone from Imago culminated in a mid-set break, simply marked by Interlude courtesy of Begins Here. The band returned with Filling Silence, which was marked by Kurt hitting the decks to the surprise and consequential giggles from fellow band members and punters alike. Crave and new track Sum of 1 closed the set, leaving half the crowd chanting for more, and the other half-already-leaving crowd grumbling that the set was too short.

Perhaps it was, but it brings to mind an analogy brought up by guitarist Kurt in a recent interview. “We baked a big cake made of lots of little cakes.” After tonight’s performance, big cake, little cake or crumbs, Melbourne is happy to take any offering. Just keep them coming.

CHECK OUT THE GREAT PIX FROM THE GIG HERE