Dan Deacon Ensemble, JohnMaus, Toy Balloon @ Woodland,Brisbane (12/01/12)

Wed 18th Jan, 2012 in Gig Reviews

The turn of a new year sees a slew of acts clog up the beautiful pipes that are the Brisbane music scene. Woodland Bar seems to be the biggest receptacle, having a full dance card for the next fortnight. Deerhoof proved to be so hot that the air conditioner blew up earlier in the week. It is a relief that the repairs have been finalised as tonight sees Dan Deacon playing in his fabled ensemble mode, Fellow scholar and US oddball John Maus and a welcome extra special performance by ‘long time, no see’ Brisbane mainstays Toy Balloon in full band mode.

Toy Balloon take to the stage with frontman Greg Cooper performing solo and showcasing some new material before he is joined onstage by fellow ballooner, saxophonist and guitarist Nimai Etheridge and synth player Chloe Cooper. However, for some reason there were two full drum kits onstage and sure enough they are soon filled by special guests Jacob Hicks of Re:Enactment and Branko Cosic of Tape/Off and the band also put a cherry on top with Chris Perren of Mr. Maps taking an additional guitar. The set was impressive throughout, from tight beats to the doubling up of the guitar and sax parts courtesy of Perren and Etheridge. They are a perfect choice for tonight’s support.

It is a quick turn around for John Maus and from his first song it is clear why. While his records are reverb drenched electronic masterpieces that divide opinion, his live shows are so acclaimed that all divide on his music is lost. However, tonight seems a rather slack show on Maus’s part. The music was perfectly in tune and not a technical glitch could be found, probably because all, and I mean all, of his music was triggered by a sampler at the bottom of the stage. A simple press of a button and the next track started, a performance that equalled a slightly more technical version of karaoke. It was a clear that there was a lot of emotion involved – Maus screams through a endless sea of reverb whilst beating his chest and sweating up a storm. Quantum Leap, Cop Killer and Streetlight were great but it felt like we were being a bit short changed in the long run.

Dan Deacon and his ensemble take to the stage with a green skull traffic light tripod gracing the centre of the stage. Immediately Deacon begins bantering with the crowd as he requests all the lights in the building to be shut off as he begins his assault on the audience.

The ensemble tonight features two drum kits, two synths and of course, Deacon’s table of assorted goodies are all being burned by the various members in an indie electro feast of the mind. Early in the set the fabled crowd interaction begins as Deacon parts the crowd into a large circle for a improv tag team dance performance led by various members of the audience.

The sound tonight is perfect with Deacon’s pitch shifted voice wailing as the dual drumming pounds you into bliss. A somewhat early highlight is Bromst track Paddling Ghost with its arpegiated marimba beat being irresistible to dance to. This winds up snowballing into the whole crowd all locking arms running around the whole of Woodland in a spectacle which no doubt the venue hasn’t seen anything like it before.

As the set continues, a competition winner is introduced to the centre of another formed circle to lead the whole audience in a rather well choreographed interpretive dance which despite my already worn out body manages to pull off in true style. The interaction continues as the crowd converges around the sound desk for what could be described as a mass group hug. The Crystal Cat leads the charge of the end of the set and with the audience deliriously happy and Deacon confirming that there would be no more tracks for the night the lights of Woodland go back up and a sea of smiles and satisfied punters resonates throughout the venue.

Dan Deacon’s set tonight can quite easily go down as one of the best gigs of the year and will hold that title throughout 2012. The sound was amazing and the atmosphere was so positive. A true highlight show for everyone involved and Deacon’s set will be no doubt talked about equally, if not more than, his fabled Brisbane laneway debut.