Pluto Jonze, Toucan, Tim Fitz@ OAF, Sydney (27/10/11)

Tue 1st Nov, 2011 in Gig Reviews

If anyone complains that Sydney’s live music scene is too unoriginal or not diverse enough, they evidently haven’t seen these bands. Those who came in with expectations had them blown away, and those with no idea what to expect could definitely say they got their money’s worth.

A slow filling Main Room, with largely seated occupants were treated to an intimate performance by Tim Fitz. Beginning with Doubtface, a melancholy piece with intricate drumbeats and nostalgic keys, Fitz set about wowing the audience with his musical abilities. A one-man band, Fitz himself plays the drums, guitar, tambourine and the myriad of other instruments that he uses, recording and replaying lines as he switches between them using the synth to create a seamless and cohesive sound that you would expect from a five-man band. Warm and light hearted, Fitz joked self-depreciatingly between songs that the audience was composed mainly of his friends and family, but it was telling that anyone who popped their heads into the Main Room were drawn in and didn’t leave.

Fitz’s music is hardly something to mosh to, and only some of his songs could even be considered danceable, but it’s easy to get lost in the carefully put together sounds and forget to pay attention to the lyrics. Even if it’s not your style of music, Fitz is worth watching just for the sheer spectacle of it. Fitz finished with the poignant and reverberating All Summer joined by James Jennings on a second drum set, the crowd sitting transfixed through the song and, as the last note died out, responding with sincerely enthusiastic applause.

In sharp contrast to Fitz’s mellow sound, Toucan’s lead singer Jess belted out soulful songs with gusto, dancing along without abandon. The chemistry between her and bandmate Shea on snyths was complemented by the addition of James Jennings on drums, the young band showcasing the songs off their debut EP Brave New World. The Aldous Huxley reference is carried on into their music, the band opening with Age of Consequence – not quite social commentary so much as a quasi-lament that, paired with Jess’s husky vocals and Shea’s echoing keys, creates a hauntingly emotive experience. The energy and passion which they put into their performance and the catchy pop-sensitivities of the self-described indie duo in songs such as the honeyed Dream World go far beyond any technical expertise. Toucan didn’t just play the gig, they gloriously revelled in the entire experience of performing, the kind of contagious sentiment that drew the crowd in and had them bopping along until the band left the stage, buzzed up and energetic.

As the lights dimmed and the curtains came down, the Main Room filled up, the audience pushing towards the stage in anticipation. It was to flashing blue lights that the curtains opened on Pluto Jonze, his entrance heralded by the high pitched fluctuating buzz of the theremin as he swung right into the psychedelic, spaced out Hand of Man. As he played with his backing band, old cathode ray TV sets littered the stage, broadcasting patterns of static and equaliser that furthered the feeling of being on an acid trip.

Jonze’s music is a pastiche of so many different styles, featuring samples and the odd combination of acoustic and electric guitars with drums, keys and the theremin, all held together with they synth. The crowd went wild when the first strains of Plastic Bag in a Hurricane began to play, Jonze’s fast paced and lyrically witty latest single, whose throbbing riffs and sequenced drum beats provide a clean, balanced accompaniment to Pluto’s smooth vocals. And yet, despite experimenting with such a range of sounds – from the seductively measured Singing in a Submarine to the rock-inspired Erasure (which was finished just the week before the gig) – Pluto Jonze still maintains such a distinctive and original sound, described by him as electroacoustic psychedelic pop, a term that hardly encompasses the broadness of his music but manages to capture its essence adequately.

Jonze blurred the distinction between ‘music’ and ‘performance’ even more than the previous acts, the television visuals adding a whole other dimension to the songs and creating an immersive experience for the audience. The music, taken alone, is also spectacular – some bands sound the same live as they do on their recordings, or sound worse; the really great musicians, like Pluto Jonze, sound better live, playing with such energy and enthusiasm that their excitement comes through the music and spreads through the crowd. Songs like Jonze’s single Meet Me Under Neon were far more gradated and complex live than they were recorded. When the lights finally dimmed and the band walked off stage, the crowd were left sated and highly satisfied like a thoroughly well serviced lover.

With bands like these, it’s ridiculous to suggest that there’s no original music anymore, or that live music is stagnating in any way. For only $12 entry, it was an amazing serving up of quality music in an intimate setting – and with talent like that, shows like these aren’t likely to continue for much longer, it being only a matter of time before they garner a wider fan base and have to perform at larger venues.