The Getaway Plan, Fools RushIn, Reaching Koda @ ClubCapitol 13/12/08

Tue 16th Dec, 2008 in Gig Reviews

Were you there? Find yourself in the gallery

Casually slipping onto the stage as if they were anybody but the opening band, were the members of local band, Reaching Koda. These twenty-somethings have been a constant in the touring circuit of late; are all members of other bands; have supported the likes of Stealing O’Neal and Elora Danan; and describe themselves as experimental-rock. -a far cry from the hardcore dealings of singer Ryan Lake’s other band We Are the Emergency.

Being the only one with any real stage presence, Lake had the crowd’s full attention as he bounced around the stage and flicked his hair in bursts. Unfortunately most of the vocals were inaudible, being overpowered by the instruments. This was to be an issue for both support acts. Unexpectedly, (or so they claimed) constant Kodamergency crasher, James Harris from WATE joined them on the stage for a duet of The Sailor’s Wife a name which suggests a sea shanty, but instead paints a vivid and moody tale of loss. As with all opening bands, Reaching Koda’s audience was fairly unresponsive.

With nods between frontman Mark Ross and bass player Ben Linden, Fools Rush In launched into the first song of their set. Introducing their pop-rock sound to the audience in Real World, we got a taste of the band’s ability to write a catchy song if only we could hear what they were actually singing and if the bass had been turned down a fraction. It was easy to pick out the influences of preceding pop-rock bands in such songs as Closer and All I Can Say with guitar riffs that could be compared to the defunct Motor Ace and melodies that set ambient scenes. Finishing with Back Up from their yet to be named sophomore album we saw the band try their hardest to get some reaction from the crowd, whose demeanour remained icy as the song came to a close.

Two bands down with only the headliner to go and the room hadn’t even reached capacity. The upstairs remained closed as patrons easily secured good viewing spots on the floor. Groans of disapproval could be heard in every direction as Coolio’s Gangsta’s Paradise boomed out of the speakers. All that could be said to the person who thought it was a good idea was, “What the hell were you thinking?” As the burning sensation from the assault on everyone’s ears subsided, it was time to let the healing begin with the band everyone had come to see.

Buffering music faded as shadows leaked out between the black velvet curtains of Club Capitol. Introducing themselves in the standard “We are…. And we’re from…” The Getaway Plan were ready to begin. Beginning with their most popular track, they let go on Where the City Meets the Sea, a good choice for getting the audience amped for the rest of the set. Feeding off the energy coming from the crowd, the band members thrashed about on the stage, hair flicking in all directions and strumming guitars madly.

Next was Streetlight which saw singer and guitarist Matthew Wright stumble over his own feet during the first verse, but with a steadying hand on the speakers, he gathered himself quickly and launched into the chorus -averting the possible incident. The highlight of the song would not only be Wright’s ability to go from rock singer to hardcore screamer with ease, but also guitarist Clint Splattering’s fast paced pull-off and hammer-on solo.

The hour-long set read like a song-for-song, souped up version of their debut album Other Voices, Other Rooms. A surprise was the b-side, Melophobia which was a MySpace release. It was well received by most of the audience who sang along, others watched, taking in the performance.

Next was Shadows, another catchy and easy-to-follow tune which is on high commercial radio rotation at present. Having had sufficient time to learn the lyrics, fans were able to sing along and jump around, showing just how successful these Melbourne boys have become in the year or so they have been promoting this album. Making their way off stage in all directions it was evident that they were about to have an encore.

The house lights dimly lit up as Aaron Barnett took his place at the drums to tap a beat out on the bass drum. With every two beats a new member walked out onto the stage with Wright completing the ensemble. Ending the night with Rhapsody on a Windy Night and Transmission the band slowed it down with Wright tinkering on the keys before all instruments entered at once for the edgy climax. With the last note fading out, guitars ringing like the outro of the recorded version, it was as if we had listened to the album from start to finish.

Were you there? Find yourself in the gallery