Their ‘On The Quiet’ tour, widely promoted as, essentially, Augie Unplugged (or, at least, repackaged), one of Australian music’s more exciting talents were set to play their third show in four days at the Toff In Town. Yes, Augie March, since their 2007 breakthrough Moo You Bloody Choir, have certainly been all systems go. And so the question at hand: was it a good idea for Augie to change it up entirely, break from their regular formation, and instead try out a string of heart-felt, intimate shows?

Local lass Laura Jean opened proceedings with her trusty acoustic guitar, accompanied by a second acoustic and a violin – the perfect recipe for a perfect blend of moody folk. Her soothing, melancholy style made me – if I could appeal to some Diablo geeks out there – feel like I was in Tristram. If I’ve lost you, allow me to rephrase: Jean’s music carries you into a calmer world, far beyond the grinding gears of the city. its easy to imagine it as the soundtrack to a hike through a dense forest. It truly has a subtle power I’ve not been privy to for some time. Jean is, herself, quiet and reserved – and by her own admission, a ‘nerd’ – and yet she still manages to find the words between songs and exude a strange sort of charisma that soon has the audience won over, almost effortlessly.

High-school love-song ode Valentine threw an accordion in the mix, and Anniversary saw Jean in impressive harmony with the violin accompaniment. I can safely say that if you like your folk music, you’ll like this. For me, though, I suppose that very point is a double-edged sword: I would have welcomed a little more variation, and as far as the tone of any one evening goes, Jean professes in, well, sadness. But then, on this particular Sunday evening at the Toff, it still managed to seem right at home.

Everyone stands and applauds, and that’s how I know Augie March have appeared. The band, as advertised, had toned it down considerably, often with front man Glenn Richards the most powerful force on stage. The first memorable moment of the set came with a complete re-imagination of the recognized One Crowded Hour, the band changing tack completely, offering a country-tinged reinvention, complete with finger-picking and, of course, harmonica. In Richards’ words, it ‘felt like it went for eight days’, but I instead cite this unexpected revamp as a testament to not only their creativity, but their instrumental ability.

Occasionally, a brass section was introduced on stage – but, as promised, it was far from overbearing, and a nice side addition to what was proving to be a warm, welcoming evening. Throughout the set and in Richards’ writings, there are scattered reminders of Bob Dylan, as single Pennywhistle continued to impress in its clever, merry tones. With the Toff crowd shuffling gently to the cheery performance, I reflected on their recent appearance at Sound Relief. Its abundantly clear that only a more intimate stage will ever do them justice, as each arrangement is simply too beautifully delicate for anywhere else.

Stranger Strange subbed in a drum track, and a string-section generated from keys, as the showcase of band’s admirable repertoire continued in style. The western-saloon-inspired piano-rock of The Baron Of Sentiment proves a highlight of the latter half of the set, but a personal joy came in their cover of The Kinks’ Days. After a highly varied and particularly entertaining set, the band closed with an eerie, stripped-back version of crowd-favorite Train, a pleasure for all in attendance.

A lot has been said for Augie March and their live shows. I’ve seen them a handful of times myself, now, and I can weigh into this supposed reputation of theirs. Its true that they can be hit and miss. But, this evening at The Toff, they were on – they knew they were on, and they were enjoying themselves. So, on that, consider this review my personal recommendation – I suggest next time Augie March roll into town, be it full band or ‘on the quiet’, take the time to see them and gift yourself a very special evening.

CHECK OUT THE PHOTOS OF THE SHOW HERE