The Waifs, Ani Di Franco @Freo Arts Centre

Sun 25th Jan, 2009 in Gig Reviews

Stewby’s Gallery

Driving by, and walking into the Fremantle Arts Centre, it was hard not to be struck by the sheer strength of the voice coming from within. Mama Kin was going for broke; her throaty tones cut right through the Fremantle Doctor. From the sound seeping out, you might have expected a simple set up of woman and guitar playing simple rootsy folk. Instead, it was more of a cabaret -including 50s fashion, her brother Michael on keyboards and The Skirts, doing a kind of choreographed four-girl do-wop performance. Bordering on odd, roots cabaret is undeniably unique, though Mama Kin’s witty banter between songs fell flat at times, maybe due to nerves.

Ani Di Franco was up next, but listening to Di Franco really isn’t about the music. With little melodic variation throughout the set, apart from some pretty xylophone sprinkled her and there, it was all about the lyrics and the message. Feminism, equality, odes to Obama and spoken word interludes featured prominently. Unfortunately if you just weren’t in the mood to be reminded about all the injustices in the world the set was a bit hard to stomach. The audience seemed to be split into people that were happy to sit and chatter with Di Franco providing background music whilst they finished their picnic dinner, happily ignoring the heavy themes; and those who were hanging off her every word, idolising her conviction and righteousness.

A West Australian success story, The Waifs share with Ani Di Franco a fierce independence and a story of self-made success. The Waifs were there to have a good time and the joy they brought to the music was imbued throughout the crowd. What was surprising was their versatility and their ability to seamlessly transition from country to folk, to sexy blues to bush band to soul.

Vikki Thorn began the set with Take It In from their first album, a country ballad that introduced us to the energy that their whole set would give off. Lighthouse brought more of a rhythmic groove to the table with plenty of syncopation to get the crowd dancing. More of a reggae flavour came next with their signature harmonies and Aussie twang (still there even though both sisters now live in the USA). _London Stil_l came out early and although it may be one of their most well-known songs, it was possibly the flattest point of the night, with Thorn leaving the stage and the rest of the band seeming to go through the motions – perhaps the band is keen to let that one go, and in comparison to some of the other passionate, upbeat, danceable, fun songs on their list, this hit doesn’t really show their strengths.

From here on in, it was all love songs in different formats. Josh Cunningham serenaded the ladies in the audience in all of the songs he sang, including Love Serenade, and Eternity, his resonant baritone oozing manliness. Sundirtwater was a highlight which began with Ben Franz strolling out his sexy double bass to back up Thorn’s blues vocals which spanned her entire range. Donna Simpson came in with a woodblock, then slowly the blues guitar and piano was introduced with breaths by Simpson before Thorn really let rip. Gospel organ and blues guitar were prominent throughout. When I Die marked the transition to a bush band. Thorn’s harmonica came in when they went rockabilly enough for a barn dance.

It was a real family affair, with Thorn talking about how the backstage dynamics have changed, from parties to childcare; and both Mama Kin and Di Franco dedicating songs to their children. The crowd reflected this with plenty of couples and families who’d brought their babies along. Jokes between the sisters (about Thorn stealing Simpson’s clothes) and that they’d only ever worked at Amcal and Coles before this job showed the laid back attitude they’ve maintained in spite of their success.

Stewby’s Gallery