Fitz and the Tantrums, LanieLane @ The Basement, Sydney(27/7/11)

Wed 3rd Aug, 2011 in Gig Reviews

Fresh from an extensive national tour with Clare Bowditch, the divine miss Lanie Lane is back to doing what she does best – playing guitar, singin’ the blues and charming the collective pants off her audience (or the collective slacks, given the older demographic in the room). Although she’s left in somewhat of an awkward position by the empty dancefloor in front of her, with most standing to the side or up near the bar, she still delivers a set of her stylish rockabilly, country and folk mish-mash. Old favourites like Betty Baby – an ode to her guitar – and Jungleman – an ode to C.W. Stoneking – were mixed in with some new material from her as yet untitled debut album, each showcasing her distinctive mix of girl-group crooning and gritty blues howls.

We were even fortunate enough to hear the two songs that Lanie recorded in Nashville with the one and only Jack White, set to be released as a seven-inch on Third Man Records. The year this young lady has had is nothing short of remarkable, and if she keeps putting on performances as arresting and lovable as this then it’s only going to get better from there.

Exactly why it took over half an hour to move one amp and one guitar off the stage is anyone’s guess, but it was the goal of Fitz and The Tantrums to ensure that they were worth the wait. Seconds after they hit the stage, it was straight into the twitching funk grooves of Don’t Gotta Work It Out, its double-negative title resulting in nothing but positivity in the room. From there, the audience was treated to every single track from the band’s debut, Pickin’ Up the Pieces. While the album is an enjoyable fanfare on its own, it takes on an entirely new life-force when it’s being sweated out in front of you in a packed club that refuses to stop dancing. Breakin’ the Chains of Love and the title track kept the energy high, maintaining it with the relentless soul-clap of L.O.V. Even the slower numbers, such as Dear Mr. President and Winds of Change are delivered with the kind of gusto their Motown heroes would have admired. In other words, if you only liked the record with a passing enjoyment, you’ll love them live. If you loved the record, then you’ll already know exactly what you’re in for.

It’s a team effort, too. When vocalists Michael Fitz and Noelle Scaggs ask you to clap your hands, it’s not just in a vain attempt to get the crowd going – they refuse to continue until they’ve gotten every last attendee copying them. The two showcase a brilliant sense of dynamics, constantly engaging one another onstage and breaking down the supposed barrier between the centre stage and stage left. The backing of their rumbling rhythm section kept the tracks tight, with the one-man horn section James King adding a little extra spice in the form of pumping saxophone – and, in one instance, a fluttering refrain of flute. The Tantrums may have only been together for a brief period of time, but they have fused into a very cohesive unit, full of vitality and genuine enthusiasm for this kind of music.

Concluding with an extended jam on MoneyGrabber, the band brought an end to probably the most energetic gig the dear old Basement has seen in quite some time. While it sadly remained true that the band are one of the most criminally underrated acts on the Splendour bill, it also cemented their reputation as a live force to be reckoned with. Tell your friends, your enemies and anyone who has mastered the art of getting’ down – you’ll want to be there when Fitz and the Tantrums return.