Massive Attack @ Sidney MyerMusic Bowl, Melbourne(20/03/2010)

Tue 23rd Mar, 2010 in Gig Reviews

Check out photos from the night here

Massive Attack hold the lofty title of band who began a genre. Trip-hop was created with the release of their seminal 1991 effort, Blue Lines, and reached its zenith with the stunning Mezzanine, released in 1998. Since the release of 2003’s 100th window, the band have been rather quiet; core members Robert ‘3D’ Del Naja and Grant ‘Daddy G’ Marshall involving themselves in other projects. Last year, the band reformed. Many thought it would never happen, but a new album and world tour were announced in short order. On top of this, we were promised full live band, and the vocal accompaniment of Martina Topley-Bird, Deborah Miller, and long-time collaborator, reggae singer Horace Andy. The stage was set for an awesome return to form, and we in Australia didn’t believe our luck.

When the night came, all the crowd were set in anticipation for a band that hadn’t toured in 10 years, and few expected to see again. Crowds of drinkers massed outside the venue on picnic blankets, huddles of excited punters settled on the hill and on plastic seats, blessedly pole-less in their views. Then the lights came up, a roar erupted from the crowd, and the strains of Massive Attack’s signature throbbing bass and electronic wizardry soared into the starry night.

This was accompanied by LED lights, arranged in a procession of stripes, glowing and scrolling words. The potential of the screen was revealed when the helicopter bass and techno soul of the Girl I Love You built, so did the evidence mount of the western world’s excess and folly leading up to the GFC, and its contribution to world poverty. Appalling statistics of the earnings of rich and poor added a sinking drama to the music. The effect was dazzling, although with the text difficult to read from the distant GA, it was easy to see why seated tickets were almost twice the price.

The use of visual effects were pushed to the utmost, and reached a pinnacle on Inertia Creeps, which revealed the depth of the band’s research on the subject of irrelevant Australian gossip – including that ‘creepy’ comment by Fiona O’Loughlin, and ‘Bingle, who cares?’ which received a massive cheer from the crowd! The effect, when coupled with the song’s whispering, slightly disturbing lyrics and throbbing drums, is impossible not to be overwhelmed by.

Every song was perfectly executed, and only enhanced by being played live. The four vocalists performed splendidly; their unique vocals complementing the tracks to the utmost. The spidery strains of Martina Topley-Bird’s vocals suited the hushed version of Teardrop perfectly, cutting through the air like a knife-blade dipped in sugar. Richael Miller’s more gutsy alto worked well on Blue Lines and Safe From Harm, to a background of inspired quotes from the likes of Mandela and Jefferson. The incomparable Horace Andy’s reggae-tinged vocals shone on Rising Son, adding an infallible sexiness to every song on which he was featured. MC Daddy G’s infernally deep baritone added a sort of languid, deep-evening vibe to tracks like Splitting the Atom. The set was a pretty even split of songs from Mezzanine and new record Heligoland, with a scattering of tracks from their other recordings thrown in for good measure.

As per the true sign of a great show, the band walk off stage far too early (while having been performing well over an hour). Of course, the crowd enter raptures, and we have a fulsome encore, comprised of the strangely uplifting Unfinished Sympathy, a sensual Splitting the Atom and the spiky electronics of Atlas Air. With Horace Andy again contributing, Atlas Air perhaps featured the most fascinating use of visual effects – incorporating a world map charting plane trips, and flags morphing into multi-national company’s logos. The set finished on the hypnotic Karmacoma.

The epic drift of this band makes them an immersive experience when seen live. Coupled with a tight instrumental sound and masterful vocal performances, it stands as one of the best gigs this city will see all year.