The Lemonheads @ MetroTheatre, Sydney (1/12/10)

Fri 3rd Dec, 2010 in Gig Reviews

Inevitable support band Smudge were knee deep in the creation of tonight’s feature album, with a number of tracks co written by Evan Dando and Smudge’s Tom Morgan, and drummer Allison Galloway. Smudge have also had somewhat of a hiatus since their early nineties endeavours, but their gloriously sloppy pop is still as catchy and endearing as ever. Mike Love Not War is a standout that takes a near perfect pun and parlays it into a bubblingly brilliant canter through chorus-catchy verses. They self-deprecatingly play “an obscure B-Side” Heavy Metal Secret, share some of their Stash and leave us to ruminate and reminisce about what a jolly great band they were with a cheeky version of Hot Potato.

The Lemonheads’ fifth album It’s A Shame About Ray saw the band take their first steps towards something close to stardom upon its release in 1992. While what followed was a turbulent ride for the band and main man Evan Dando, this album saw them still dealing with humble hanging out and getting high tales, largely set in Sydney.

The Lemonheads – Evan Dando and whomever he currently has playing with him – in this case The Candles’ Josh Lattanzi on bass and Stacy Jones, former skinsman with Veruca Salt and Letters to Cleo, on drums were here to play the album in full. Save for six words from Dando in the couple of scant tuning breaks “thanks”, “thank you” and “thanks for coming” that’s just what they did, ripping through the dozen tracks in an almost Ramones-paced thirty minutes flat. With a record this good, it was all they had to do.

Right from the opening chords of Rockin Stroll Dando’s guitar playing is precise and focussed, and is more than ably driven along by the rhythm section who seem comfortable taking a back-seat role visually, if not musically. The seemingly ageless Dando is pretty much unignorable up front anyway with his laissez-faire hair and mostly half-opened doe eyes and that still effortless cruisy crooning. While seeming amiable enough, there are no real connections made with the audience from on stage. But no one is complaining though when songs the quality of the near-classic Confetti and the slacker anthem that is the album’s title track quickly. And we get to share enough of Dando with his frank and honest lyrics in the charming Rudderless and open-ness of My Drug Buddy. There is a slight change of pace after an upbeat Allison’s Starting to Happen – perhaps buoyed by the fact said lass was in the room – when Dando alone is left to pick and strum through Hannah & Gabi then we’re back into it, as the album is soon left behind and back-catalogue bottlers churned through with the same rapid pace including a warmly received Big Gay Heart that had the sold-out crowd singing.

It was over so quickly, and almost too much quality to absorb all at once. But certain to add another layer of sentimental memory to what was no doubt an already important album to everyone present. As a final sweetener the curtains reopened and in a fitting finale Dando was joined onstage by Morgan and Galloway for a brisk and endearing strum through Outdoor Type to send us out into the night and back to the 21st century.