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Leader Cheetah have arrived. Well and truly. After rumours of recording delays at eccentric producer Kramer’s home studio in Florida and with mere traces of demos on their site, the quartet, once known purely for Dan Crannitch’s previous stint with the now long defunct Pharaohs, has established itself as not only a tangible and respectable music entity in it’s own right, but one of this nation’s most promising bands. On the back of wide critical acclaim and an impressive resume of high profile supports, the band returned to their beloved home town to launched their debut LP The Sunspot Letters. They were embraced by a sold out audience, mainly comprised of familiar Exeterites, and varying interconnected small town indie cliques, most known through some degree or another to the band. A band that has quickly cemented its place on the musical landscape, stepping beyond the bounds of this city’s incestuous and seemingly finite music fishbowl and into the wider world. All thanks to elegant songs characterised by gorgeous melodies, soft harmonies and ambitious, yet ultimately poignant lyrics.

The band’s mutual love of this town was on show as they generously allowed for not one but three opening acts. The Weevils are the remnants of Skeletons, minus the two Fire! Santa Rosa Fire! members and plus a new face. This band has toned down the percussive elements of their forebears, with a raw alt-garage sound that was well received. The gig went up a notch when new perennial Adelaide support act Like Leaves took to the stage. On this occasion imposing bassist Pat Saracino was the visual centre point, in a move which amped up their onstage presence. As always their stage sound reverberated marvellously around the room with a coarse full bass, ethereal guitar and violin rounded off by punching, resonant drums. This act they left no doubt that they are indisputably, the cream of the local live scene. However, as a small point of criticism, for all their innumerable instrumental virtues, they have only one potential stand out single: a hypnotically droning piece with a Sketches era Buckley-crossed-with-Pixies vibe to it. Sadly, the track stands alone and it could well be argued that the act sell themselves short by not steering towards the sort of songwriting that draws more punters in, thereby denying their inarguable talents the exposure they deserve.

As has often been the case, No Through Road was the main support for Leader Cheetah, put down to the fact the two share a manager in the industrious Ross Hocking – a key player in local music circles. NTR do put on a great show however, and tonight they were tight, catchy and delivered on a contemporary sound characterised by a mature indie-guitar blend and layered around animated frontman Matt Banham. Banham is charismatic and commanding with some strong lyrical hooks in his arsenal. The problem he has is his onstage persona is so strongly typified by sarcastic banter that it’s hard to gauge the sincerity of his lyrics. You constantly expect him to take the piss at some point and this works both for and against him. That aside, NTR tick most of the right boxes and, on the strength of their stage presence and song catalogue, are deserving of a far greater national profile. In fact, they may even be well served by Hocking putting feelers out overseas.

When the main course arrived it was at a good time. The build up had
worked a treat and there was a buzz of anticipation around the room, a
rare feat for one of Adelaide’s own. Singer Dan Crannitch has refined his distinctive crisp vocal direction balancing it with a gutsier tone which carries the melody. It should be noted that mixer and sound guru Matt Hills worked admirably throughout the night to match the right reverb and delay balance for his voice. Dan’s brother Joel ensured the drums thickened out the folksier guitar elements just enough to drive the songs forward, whilst working the kit to contribute scattered dabs of texture. Guitarist Dan Pash’s harmonies were subtly weighted, as were his sublime overdriven Rickenbacker licks. Alibi was simply glorious with a great skipping feel, punctuated in parts by a three piece horn section. The track should have been the opener for mine, given the crowd response to the beat and their embrace of the warm camaraderie between performers.

Signature hit and Triple J staple Bloodlines came early in the set and was followed by the stunning Dianne, their most emotive track, featuring the prolific Tom Spall on violin. Album opener, Spirit to the Bone should be a single. The song is built on hook after hook after hook, with a timeless, memorable guitar riff, strong verse harmony and thoughtfully weighted chorus. The melody is reminiscent of Elliott Smith in the way that it carries an intangible sense of narrative – although this point could easily be made of Bloodlines and Alibi. Fly Golden Arrow Pt 1 was another standout with a full sound and engaging upbeat feel. The melodic balance of the set list was such that the punchier sweeter songs came earlier and the slower or more savoury tracks ended the set. The band was a little indulgent towards the end and the set tapered off a little, but to the enraptured crowd it mattered little. They unreservedly paid the favourite sons their dues. And it was much deserved.

CHECK OUT ALL THE PHOTOS HERE.