Mama Kin, Matt Joe Gow & TheDead Leaves @ The Toff inTown, Melbourne (11/12/2010)

Thu 23rd Dec, 2010 in Gig Reviews

Sometimes going to a gig feels like more than just simply watching someone play some music. Sometimes you feel like you’re discovering a great new talent that not many people know about yet. Sometimes you feel like perhaps you don’t belong there when you realise that you might literally be the youngest (or oldest) person in the place. Sometimes you feel like you’ve been transported to a different place and time through the crowd and the music. And on the very rare occasion, you might find yourself struggling to enjoy a gig that should be amazing, because you’re distracted by an unruly crowd, or an overly aggressive sound tech. Strangely enough, all of these things occurred on a mere Saturday night in the gig room of The Toff.

As Johnny Cash faded out on the speakers, the velvety red curtains of the Toff’s stage pulled back to reveal the openers for the night, Matt Joe Gow and The Dead Leaves. The dark red hues of the room coupled with the bands 50’s-style country garb and slicked back hairdos made you feel like you had stepped back in time. Even more so when they started playing a slow, grinding country melody that sounded like it came right out of a prison scene from an old black and white film. It was an awesome feeling as the deep bass and synchronised humming created an other-worldly energy that started the night beautifully. The rest of their set was strictly country-rock, as they powered through tracks like their now popular hit Come What May, the Johnny Cash styled deep vocals and rolling snares of Come To Mama, as well as heartfelt The Light and Grand Ambition. With bouncing beats, harmonica bridges, and raw country vocals, it was an upbeat half hour or so that got the middle-aged crowd bopping and swaying along. Even if you don’t dig the country vibe, there’s no denying that Gow and his band do it VERY well. He has the perfect voice, the songs he writes are incredibly polished and it was generally a very well played set.

The crowd chatted and fidgeted for a while before an immense and unexpected scream from the front of the stage signalled the entry of the delightful Mama Kin. Dressed in a sweetly conservative white dress, with a white flower perched in her dark curly hair, she looked every bit the part of a soulful songstress mother. Seeming genuinely surprised at the size of the crowd, and a bit taken aback by the overzealous fans at the front, she took some comfort in saying hi to her mum in the front row (and promising that she’d ironed her dress as best she could). Despite being based in Fremantle now, Kin chose to end this particular tour in her hometown of Melbourne, and as she introduced her band as her brother Michael, and friend George, and acknowledged her many friends in the crowd, it became apparent that this was going to be an evening filled with love and personal tidbits.

Kicking things off with That Race and the sassy Coming to Get Ya, which was inspired by taking some time away from her husband and daughter, the crowd was instantly with her, as her incredibly passionate and soulful voice filled the room. It all felt very intimate as she told stories between songs, and explained how and why each song came about before singing it. After a couple more tracks including the wickedly fun Sleep in my Bed, the band left the stage for three songs to allow for some solo Mama time. It was at this point though, as the tone quieted down and she got into a more deeply personal story, that things turned a bit nasty in the crowd.

As some ladies chatted unnecessarily loudly in the corner, not only did other crowd members start shushing them, but ‘Jason’, the sound tech whole-heartedly yelled “Shut up!”. And although they probably deserved it, the fact that it came from him totally switched the mood in the room to one of tension. Things only worsened when the bunch in the corner continued to chat, another lady behind him whistled too loudly after a song finished, and some girls in front of his booth attempted to put their drinks down nearby. It was incredibly awkward as Jason got increasingly frazzled, huffed and puffed as he shot death stares at everyone around him, and even got into full-on arguments with some people. Fair enough the bloke was trying to do his job, but it was as Mama Kin was timidly playing her ukelele solo song River that he was losing his shit, and it all just seemed a bit over the top and unnecessary. Granted, this reviewer was standing right behind him, so hopefully those in the crowd that weren’t in the direct vicinity of his booth remained oblivious and were able to enjoy the show.

As Kin finished her solo interlude and got a lipstick touch-up from mum, the band came back and continued on with the fun playground beat of Apple Tree, encouraging the crowd to sing along: “we’ll be the kings and the queens of the apple tree.” Next up, Kin pulled out a small clay pot, and as she started tapping it with her hands, it became apparent that this was how the odd-sounding beat on Beat & Holler was produced. More sing-along ensued with the crowd chanting: “I’m gonna beat at your window and holler at your door!” It was a highlight of the night as the tension in the room eased for a moment and everybody got involved in the fun of the song. Other great tracks were the ever-popular Tore My Heart Out, Whistle & Light, the country style tune about women trying to regain the attention of straying men, followed by the rollicking jazzy number It’s For Me, and the samba-esque To My Table.

Kin thanked the crowd for their cheers and asked us to thank her mum once more for “squeezing us out” (referring to herself and brother Michael), before finishing up with This Love Song – an ode to her husband that came about after she dreamt that he disappeared. It’s interesting that with most of her songs, despite the darkly emotional subject matter, the soulful and jazzy music makes all the songs sound upbeat and cheery. And with Mama’s incredible voice and carefree dancing, it all comes together beautifully. That really is a testament to the night, because despite feeling somewhat out of place, as though I was at a Maltese family reunion rather than a gig, and distracted by the aggression between the crowd and the sound tech, it was still one of the best and most intimate sets I’ve seen in a long time – only because of the beauty, honesty, and modesty of the wonderful Mama Kin.

CHECK OUT PHOTOS FROM THE GIG HERE