Sage Francis, Horrorshow, DJDexter @ The Forum Theatre,Melbourne (15/10/2010)

Wed 20th Oct, 2010 in Gig Reviews

Having been well-received in its inaugural year, the Beck’s Festival Bar has returned in 2010, already showcasing impressive performances in the past week from heavy US pysch-rockers Dead Meadow and the noise and chaos of Japan’s Boredoms. This year, performances are designed to respond to themes of ‘shamanism, cult bands and music as religious experience.’

The gathered on Friday were lucky enough to be witness to the lyrical mastery of Mr. Sage Francis. Introducing us to his fifth and most recent album, Li(f)e, Francis hails from Rhode Island and was inspired by revolutionary hip-hoppers Public Enemy. He first wreaked havoc in 1996, when his social criticism was disseminated in the form of self-circulated mix tapes. Like the entire catalogue of his work, Li(f)e continues to explore issues of sexual identity, mental illness, corporate greed, death and fittingly, religion, through some killer rapping and rhyming. As Francis proudly claims on his record company’s website, “it’s always been a part of my lyrical genetics to rally against modern mythology.” And rally loud and proud he does.

Young Sydneysiders Horrorshow opened the night’s proceedings, playing to a very quickly filling Forum Theatre. Their vivid poetry served to remind us that it’s a hell of a lot of fun being young, but the post-school void is not without its anxieties. Playing well-aired tracks such as Walk You Home and For What It’s Worth, Horrorshow did a phenomenal job of warming up the crowd. Their exit was marked with a sea of lanterns cascading down to the stage, furthering the Forum’s unique feel.

Now was Mr. Francis’s moment to shine, and blasphemy, criticism, satire, and cynicism were just a few of the ingredients dished out by the man. Caped in a Strange Famous Records flag (the record company Francis also happens to own), Francis took to the stage and was greeted with rapturous applause. He opened with a track from his third album A Healthy Distrust titled Sea Lion, though without dwelling for explanation Francis told us “maybe I should’ve called it, ‘She’s Lyin’…”

Repeatedly, the audience were invited to complete verses and capture abandoned lyrics, with one particularly enthusiastic fan allowed temporary ownership of the mic. Francis continued to treat the senses with tracks including Makeshift Patriot, Crack Pipes, The Best of Times, and an unforgettable Broken Wings, which flawlessly sampled the original 80s track by Mr. Mister.

After successfully inviting the front and back of the room to chant ‘Love the Lie!’ from a song of the same title, Francis invited the sound-guy to follow suit. Not much could be heard but Francis’s frivolity certainly succeeded in charming the crowd.

Toward the end of his performance, Francis removed the wig he had so donned all night, revealing a naked skull full of wisdom, religious prophecies, and a healthy sprinkling of filth.

On the subject of filth, we weren’t spared a dose of phallic obsession either, with Francis using the microphone…well, undoubtedly you can envisage what he used the microphone for…but it nonetheless only served to enhance his performance and please the crowd.

Other particularly notable audience interaction included the following:
“I’m not here to be sexual, I’m here to be intellectual… nah I’m just kidding, I’m here to get sexual!” which again emphasized rather then vulgarized the proceedings.

Also insisting “every good rapper creates a dance move,” Francis informed a now packed out Forum that he was the “creator of the climb tree.” Apparently we were experiencing a “multi talented, multi faceted climbing tree with the fat kid.” Then he so kindly told us to, “dance you little god damn monkeys!” So dance we did.

Apologies were also made for B. Dolan’s absence; Francis telling the crowd that he was “back at home sorting out some serious shit,” to which the audience responded with pure empathy.

Francis ended his performance by thanking Melbourne, and Melbourne undoubtedly left thoroughly satisfied.

Post Francis, four-time DMC Australian Champion DJ, Dexter, took to the stage. Notorious for fusing the classics with the nouveau, the simple with the obscure, and drawing on a wealth of traditional folk music, he did exactly that; sampling artists like the Chemical Brothers, Snoop Dog and Dr Dre. Though the crowd had subsided somewhat, Dexter eased the remaining out of Francis’ zealous critique and lyrical mastery and into a Friday night.

With five ‘krumpers’ appearing throughout the set, their energy could not be contained by the conventions of the stage’s boundaries. It spilled off the stage, contaminating the crowd, with many taking on their own experimental styles.