Primus, Melvins @ PalaisTheatre, Melbourne(03/03/2011)

Mon 7th Mar, 2011 in Gig Reviews

When two of the biggest acts on the Soundwave bill announced a co-headline show, rock fans in Sydney and Melbourne scrambled for tickets — determining even a deal with the devil would be worth it (your mere soul for the chance to see Primus live? MAN that devil is a sucker).

There were two whopping reasons to celebrate the heralding of such a show: Primus returning to our shores after ten years away, and last year’s release of the Melvins’ 20th studio album, The Bride Screamed Murder.

The sold-out Palais Theatre is packed with punters tonight and the atmosphere is electric. The dude:dame ratio is a source of amusement — and personal triumph as for once there’s no queue for the ladies.

Washington State’s Melvins ignite this evening’s rock binge with a set so intense punters are left nursing their sprained devil-horn hand. Long dubbed the Godfathers of Grunge and an inspiration to the likes of Kurt Cobain, Melvins are the veterans of the underground.

Singer/guitarist Buzz Osborne is rocking a look I’m going to call ‘crazed space monk.’ A wild greying afro sprays out from the top of his tunic’s huge neckpiece. The rest of the quartet are dressed as Vikings. And hey, if you’re ever looking for the perfect soundtrack to an apocalyptic Viking warrior war (and who isn’t) the mighty Melvins are your men. The guttural vocals of Osborne make for a fierce battle cry while Jarred Warren’s pounding bass and the dual drumming of Coady Willis and Dale Crover bring together a rhythm section so furious it’s fit for the underworld.

The two front-of-house drummers are a sight to behold. They drum counterpoint with such ferocity their sound thunders through the theatre. When they synchronise it adds a visual element both powerful and hypnotic. I gape when I notice they are also sharing vocal duties.

This sort of epic rock really suits a theatre set-up, but with the Palais’ stay-in-your-seats policy it seems a strange venue choice for one of the most anticipated double-headers of the year. Sporadic outbursts come from overcome punters who spring from their seats and thrash their heads or thrust enthusiastic devil-horns in the air. One guy in the front row explodes and leaps about screaming for his mates to get up before they drag him back down to his seat. Others bolt down the aisle to jump about at the front — making the most of it before being escorted back to their rows. Each time it happens I find myself secretly hoping the usher will trip, granting the dancers a few more moments of euphoria. It’s an unnatural set-up and with the onslaught the Melvins are bringing I am certain half the theatre is ready to implode.

To finish the set, the two drummers stand on their stools and all four sing Sha Na Na’s Goodnight Sweetheart acapella. Warren hands out flowers throughout the song then tosses the front row the vase saying: “here’s a commemorative vase.” It’s a hilarious way to finish a behemoth set and it’s met with a standing ovation.

After a 20-minute interval, it is time for Primus. There are two giant inflatable astronauts onstage and anticipation builds as projected images flash on the helmet visors. Soon the images become the band’s faces and the crowd begin to cheer as figures pick up their instruments in the darkness of the stage.

When the lights come up the trio are greeted with thunderous applause. Sporting a bowler hat, round glasses, sharp moustache, waistcoat and that trademark voice, Les Claypool is part Victorian Gentleman part Circus Ringmaster. For the next 90 minutes or so, Claypool has the undivided attention of the mesmerised crowd. The man is a bass plucking prodigy. I have never seen Primus before and I have never EVER seen a bass played like that.

Primus’ set is zany, eclectic, and comedic. Green and pink tinged lighting suits the theatrics of the performance and images continue to flash in the astronaut’s visors — often complimenting the lyrics. Jay Lane’s drumming and Ler LaLonde’s off the wall guitar are bold and impressive but it is downright impossible to take your eyes off Claypool. He is a phenomenal entertainer. His between song banter in that nasal, cartoon-like voice is warm and witty. “Sometimes you click, sometimes you don’t click: tonight we’re clicking,” he charms.

His bass licks drive the crowd wild but it is also the fluidity of his movement that is captivating. It seems he is aware of this too because he turns his back to us and moves towards the rear of the stage when Ler plays his solos. At one point in the set he leaves the stage only to return in a bizarre pig mask before ripping a short solo from an electric upright bass. Later — at the end of Lane’s crowd-pleasing drum interlude — Claypool takes to the stage in a monkey mask and wows the punters with his whamola (a funk-jazz bass instrument that looks like a tall metal rod and is played with a drum stick). He beats tribal rhythms out of it like a musical medicine man.

Other set highlights come with Too Many Puppies, John the Fisherman, Groundhog’s Day, and Jerry Was a Racecar Driver. At the close of the set Claypool slyly says, “Now I know you’re not supposed to stand up, but I think you might want to stand up for this one.” Every punter leaps from their seats as the band launch into Tommy the Cat. The theatre reaches fever pitch as thrilled punters holler the song’s refrain ‘SAY BABY!’ After deafening applause the band return to the stage to encore us with the epic six-and-a-half minute tale of Harold of the Rocks.

It has been a very long decade indeed for Primus fans but with the appearance of new songs in this set list, there is promise of a new album. And hopefully with it, a tour. If it happens, you have to be there. Even for those less familiar with the band, if you go I guarantee you’ll walk away with a new musical hero.