Les Claypool @ Forum Theatre,Melbourne (04/12/09)

Mon 7th Dec, 2009 in Gig Reviews

Masks, percussion, cello, and bass, lots of insane bass – that’s the very least you can expect from a Les Claypool gig. On Friday the 4th of December, the Forum Theatre in Melbourne played host to the former Primus frontman’s latest incarnation, and while I may not have been completely versed in every song Les Claypool broke out during his set, one definite thing I can say about the music Claypool played was that it was quite unlike any music I had ever experienced live.

Who else could combine a cellist (Sam Bass), a stoking drummer (Paulo Baldi), an insane percussionist (Mike Dillon) who furiously bashed the xylophone (amongst other instruments) with amazing precision, and the unique bass playing of Claypool himself? And who could deliver music that defied all genre placements and also provided a visually stimulating show that used a variety of masks to produce a theatrical music experience?

Throughout the night Claypool thumped and slapped out bass riffs that would make any proud musician blush. Anyone familiar with Primus’ back-catalogue knows his bass playing prowess is unequalled, and he ensured everyone in attendance believed he could do anything he wanted to on his instrument of choice. In fact, Claypool has compiled an outstanding ensemble of musicianship for his live shows (this is also the same line-up that features on his new album Of Fungi and Foe ). Mike Dillon almost equalled Claypool’s prowess while playing a variety of percussion instruments and Sam Bass was able to render different sounds while playing his cello that made the casual onlooker wonder where the guitar and horn sounds were coming from because neither instrument was present on stage. A traditional guitarist in any Claypool band is almost a non-entity, but Bass complimented his slap-style perfectly.

As most people know, traditional rock and roll quartets usually consist of drums, guitar, bass, and keyboards or a similar combination, but the unusual makeup of this line-up played a huge role in giving this group a sound that was completely new and indefinable. Claypool’s band also had the luxury of experimenting with different sounds and arrangements throughout their compositions, because the traditional guitar and/or keyboard players were not present. Instead these musicians were able to bounce notes off one another and also combine their instruments to produce a uniquely indescribable sound and vibe.

The setlist for the evening consisted of songs from almost every point of Claypool’s prolific career. Primus’ song Southbound Pachyderm was given new life when played by this quartet, and was predictably received which much appreciation by the large crowd assembled. Fantastic versions of Amanitas, Red State Girl and Booneville Stomp from Claypool’s aforementioned new album, were delivered with intensity, precision, explosiveness and just the right amount of Claypool quirkiness. One Better, probably the most accessible track from Claypool’s previous album Of Whales and Woe, was a welcome addition and even ended with a teaser to the famous Tom Waits’ cover Tommy the Cat, which had the crowd briefly begin to surge to the front of the pit before they realised what was happening.

The highlights of Claypool’s set came in the form of a rousing drum solo, whereby Bass accompanied Baldi’s drumming by alternating between his xylophone and a second drum-bit, and a jam featuring Claypool’s unique one stringed instrument that he plays with a bow, and also consists of a whami-bar like implement at the head of the instrument. This piece of apparatus being aptly named, “The Whamola”.

The show concluded with an awe-inspiring rendition of Lust Strings from 2006’s Of Whales and Woe, which beautifully highlighted Claypool’s intense and unrivalled bass genius. Although having never being privileged with being able to witness a Primus show in person, I was completely surprised and appreciative of the performance of this new quartet that Claypool has put together, and really feel this was the next best thing. They provided a fresh take on Claypool’s extensive repertoire , with the audience kept in a state of heightened anticipation for the next song and note in what was a quirky and thoroughly enjoyable musical-journey.