Dan Sultan, Alexander Gow @The Governor Hindmarsh,Adelaide (20/07/11)

Sat 23rd Jul, 2011 in Gig Reviews

Their first acclaimed solo and acoustic show in Adelaide sold out. Tonight’s show was an after-thought, but a sweet one at that. The crowd is seated; green garden chairs. Alexander Gow dons black leather, his acoustic strapped across his chest; Dan Sultan sports a black tee, a creamy white electric dangling around his waist. Together, they open with Oh Mercy’s On The Run, their harmonies blissful. Performing tracks like Mercy Valley, Alex, harmonica affixed to his neck, looks vulnerable on stage. During a cover of Great Southern Land, I can’t help but contemplate that Alex’s voice pales in comparison to Dan’s. In his defence, a cold has clearly affected his vocal strength. Triple J favourite, Keith St. is an early highlight before Dan exits, leaving Alex to perform the remainder of his solo set. Alex takes off his jacket to reveal a pastel-coloured shirt, apologising to the crowd, “I looked at the iron and said ‘Nah’”. He’s met with a wave of laugher. Spotting the Hendrix and Dylan blockmounts adorning the venue’s walls, he jokes they would be angry at him for stealing their songs and attempting to play guitar left-handed.

Alex’s cover of the Blackeyed Susan’s The Good Life Never Ends has me instantly hooked. The kid owns it. He propositions the crowd, asking them to join him for a morning (12pm) jog outside his Hindley St. Hotel. Next, Alexander offers the crowd a delightful cover of Leonard Cohen’s ’The Future’, adopting it as his own. He sings and grunts and it’s dirty and perfect. Throughout, Alex is comical, the kind of guy you have an inkling suspicion plays with Sci-Fi figurines when alone in his room. He sings a tune about the kind of funeral he’d like to have. He tells of dressing up in his mother’s dress, lipstick and eye-shadow, running a bath, undressing slowly – all the while listening to Kate Bush records – and subsequently penning a song of jealousy through the eyes of a woman. It’s bizarre to say the least, but a testament to his creativity. He informs the crowd 25% of the inventive track entitled Lady Eucalyptus revolves around a mythical mermaid-like creature who makes her home in the Yarra River. He laughingly explains she’s a product of his idiosyncratic imagination. The song is both amusing and executed well. Blue Lagoon is a highlight, as is JJJ favourite Stay, Please Stay from 2011’s Great Barrier Grief. The rendition is close to perfect until the G string on Alex’s guitar breaks, sending him spiralling into nervous rigidity. He eventually collects his thoughts and finishes with a rocking cover of Springsteen’s Racing In The Streets before timidly disappearing offstage.

It’s intermission, followed by the re-appearance of Dan Sultan. Standing tall on stage, or bowed over his piano (which Dan jokes is also named Alex), Dan looks entirely at ease. From the very beginning, the strength of his voice and his lyrical prowess reach into you, tugging hard on your heartstrings, begging them to wilt and unfold like day-old roses as it proceeds to turn you inside out. Akin to hard gravel which is surprisingly smooth to the touch, Dan’s voice is at once husky and soothing. The highlight of the night is Old Fitzroy, simultaneously showcasing Dan’s talent on the piano and the inherent beauty of his raw, powerhouse voice. The personal insights which precede Get Out While You Can fill my eyes with tears which subsequently spend approximately three uncomfortable minutes threatening to fall. His voice is all-consuming and I’m frightened the goose-bumps and chills which have made their home on my skin and spine respectively won’t cease for the remainder of the night.

Throughout the set, Dan performs several touching love songs including Walk Through My Dream and Nyul Nyul Girl. Sorrowbound is hauntingly beautiful, until the inconsistent and annoyingly loud clapping of an overzealous crowd member forces Dan to pause and patiently ask for quiet (twice) during this heartfelt track. Forever and Your Love Is Like A Song slow the pace. Upon request, a bartender brings him a vodka soda (with lime) to soothe his sore throat. It’s timely, because during killer track Lonesome Tears, Dan grunts, growls, sweats and swaggers. He’s all attitude, gravel voice and guitar solos, and he smashes it in every sense of the word. The ever-catchy Dingo, penned by long-time collaborator Scott Wilson about a former friend who repeatedly stole their guitars and pedals (“I paid a grand for it, you got two grams for it”) is up next from 2009‘s Get Out While You Can. The execution is fantastic, and I’m sure that if the accused heard it, it would threaten to blow his conscience to smithereens. Kimberley Calling (the working title of his new track) is fresh and brimming with potential.

After what feels like a relatively short set, the crowd calls for an encore, steering Dan back onstage. He plays Roslyn from 2006’s Homemade Biscuits. To put it simply, it’s deeply emotive and fight I may, I cannot help but be filled with a deep melancholy regarding the events the song so eloquently depicts. Alex is called back to the stage to contribute to an energetic cover of Tom Petty’s 1989 I Won’t Back Down. The boys finish with To Her Door, a cover of the Paul Kelly classic from 1987. It’s the perfect finisher – passionate and brimming with lament.

Dan describes this tour as a seemingly more self-indulgent one after a short break from creating music last year. But it has undoubtedly provided fans with an intimate look into a slightly more subdued Dan Sultan. And I’m sure they’re as grateful as I am.