Kid Sam @ Curtin, Melbourne(5/06/09)

Sun 14th Jun, 2009 in Gig Reviews

Kid Sam arrived home in June to headline the Melbourne leg of a three-state tour, bringing winter with them. Fergus Brown, donning the NSW guernsey, opened the show. Fergus’s good-natured and self-reflexive songs got the crowd straight onside. Quieter, guitar-backed moments allowed his sometimes perverse lyrics to come to the fore – from what I could gather ranging from nerds to vaginas. Frankly, vaginas deserve more lyrical reflection in contemporary music and Fergus’s contribution is welcome.

Fergus’s is a particularly Australian voice, though ruminative enough to avoid parochialism. The irony and honesty of his lyrics and the lovely earnestness of his singing voice peg him above the standard singer-songwriter. Also of note was stage-mate Holly’s contribution to the Fergus Brown experience. She is a musician of many talents which include a captivating mouth trumpet and her particular brand of folk beat box. Playing an unfamiliar keyboard she hit the wrong button mid-set, unleashing some distinctly un-Fergus Brown beats but she and the fellas on stage with her made the most out of it and in doing so endeared themselves to the audience a little more.

Fergus wore dark-rimmed spectacles – a dime a dozen really in venues such as the Curtin but just days before the show The Age ran a piece on the advent of – œocular hipsters’, some of which I think is relevant to repeat here:

“Males are identified by their beards, vintage T-shirts and khaki canvas knapsacks…Many claim to be musicians, even though they’ve never sought or received any formal musical training (“because it would ruin my creativity”)”

I don’t know about Fergus’s musical training but he proved himself a sartorially suitable musician either way.

Queenland’s McKisko played the second set and her compelling, solemn opening track was drowned out somewhat by conversation, mainly coming from the back of the room. A few songs featured the double bass, and her delicately crafted songs showcased her undoubtedly lovely voice. All in all it was a bit quiet for a Friday night, although she did command the crowd’s attention with some shouty lyrics and noisy guitar for one song at least.

Kid Sam’s self-titled album has been warmly received in Melbourne, and indeed in my stereo. The pair opened with a very quiet track, Kieran Ryan playing what looked like a xylophone Mac. Kid Sam craft sound – and silence – intelligently and the next song deviated to discordant rock, despite (or assisted) by some feedback issues. Kishore Ryan’s drumming is excellent – the wok too clangs nicely – and Kieran’s voice is resonant and haunting.

In between each set Radiohead played from the speakers and it is clear that the band is an influence on Kid Sam. I think the pair manages a similar dystopian, clinical sound that Radiohead have historically achieved and creates a comparable existential atmosphere in their music. Listening to Kid Sam I become acutely aware of my own mortality…

I was disappointed not to hear the song that first alerted me to Kid Sam – Down to the Cemetery, and I’m not sure if they left it out because it’s just me who likes it so much and so they didn’t think to include it or if the pair was a little nonplussed by the reticent vibe in the room. Most of the people who were attentive to the gig were sitting in front of the stage – which suited McKisko’s quiet music perhaps but had an effect of enervation during Kid Sam’s performance. I encourage folks to stand at any gig with an electric guitar.