White Lies, Yves Klein Blue @The Hi-Fi, Melbourne (30/7/09)

Tue 4th Aug, 2009 in Gig Reviews

Hi-Fi Bar was abuzz with a bit of Splendour backdraught buzz, as a number of the acts hit Melbourne after the previous weekends Byron Bay bash. Getting their support capes on in preparation to be the Robin to Wolfmother’s Batman come September, Yves Klein Blue take up guard for some smile-on-your-face indie pop punk goodness.

One word that constantly comes to the mind while watching the Brisbane group is ‘jaunty’, as each number delivered from the quartet has a certain sprightly bop from side-to-side feel about it. Michael Tomlinson delivers the vocals with a certain cheek about him, his neatly swept cow-lick hair style reeking of Phil Jamieson. Often unwinding from the microphone to knock out a guitar riff with a wide-eyed, daring look on his face, Tomlinson and co play through the jangly guitar and keys combo on Make Up Your Mind.

With one of the groovier playing styles going around, Sean Cook digs into his role on bass guitar with particular attention shown to the breakdown for radio staple Polka. The set was fairly consistent throughout with little or no lull in interest from the building crowd, suggesting a band that may have some real longevity on the live and festival scene particularly leading into summer. A cover of Bruce Springsteen’s Born to Run was done some justice and crowd favourite Getting Wise brought to an end an enjoyable, and for those who hadn’t seen YKB before, enlightening supporting slot.

With an intricate set-up of spotlights, instruments and the likes, a sizable break ensued in anticipation for main event The White Lies. It has been open season on slagging this band within media circles and the blogosphere, due to their obvious likeness to Joy Division and (more the contemporary) Killers, Editors and Interpol. But after scoring a number one with their debut album in the UK, those in attendance would be hoping tonight they could justify the hype. And that they did.

The West Londoners wasted no time as they moved on stage, Jack Lawrence-Brown’s drums signaling the opener as A Place to Hide. Most recent single Farewell to the Fairground soon followed, the chorus and refrain allowing front man Harry McVeigh to stretch his pipes and dispel any doubts that his great vocals on record would not transcend into the live arena.

It soon became apparent the band’s largely BYO lighting setup was to achieve one particular effect, staying true to their name, with not a single coloured light being used in the entirety of the set. While risking a potentially boring stage show in doing this, the effect was quite the opposite with the black and white acting as a great representation of the dark yet often uplifting music the White Lies have based themselves upon.

The bass riffs of Charles Cave were as loud and prominent as any band this reviewer has ever set ears upon, particularly on the brooding title track To Lose My Life. While the comparisons are rightfully made, the White Lies do receive a blemish on their performance for the odd timing miscue, something a rarely seen from a band as tight as the aforementioned Interpol. But as the set progressed the intensity and crowd reaction only increased.

After performing a souped up cover of Portishead’s The Rip, the foursome completed by live member Tommy Bowen on keys, saved the best for last on arguably their finest track, Death. The finisher saw the strobes used to full effect, with McVeigh holding his emotion for the pivotal bridge of the track, ‘I live on the right side, sleep on the left, that’s why everything’s got to be love or death’. Cue final chorus, brilliant.

This was one of those gigs, where you walk away into the night wondering how long until said artist may tour again. Unless you’re going to the UK, you should be hoping the answer is very soon.

CHECK OUT THE PHOTOS FROM THE GIG HERE