It is yet another sold out show at the Northcote Social Club and as a consequence the place is heaving with assorted humanity although erring mostly on the uber-cool north of the river side. Opening duo The Yearlings have taken the stage with their sparse country-tinged, balladry and attempt some rapport with a crowd who, albeit for a few listeners down the front, are more concerned with having a chat and a drink than paying any modicum of attention. Due to my late arrival, I am at a loss to say whether this turn of events is the fault of the crowd for being rude buggers, the room for being too well soundproofed and thus turning any titter into a cacophony or The Yearlings for being shit boring. Therefore, I will reserve my judgment on all three and continue on to the main attraction tonight; South Australia’s The Audreys.

Tonight, The Audrey’s find themselves on the second night of a two month plus national junket in support of their debut album Between Us and Last Night. The album itself has been on my list of CDs to buy since I first heard them on JJJ a few months back doing a stellar rendition of INXS’s ‘Don’t Change’, but unfortunately due to my lack of fiscal remuneration, The Audreys have remained something of an unknown quantity to me, albeit an exciting one.

Now, I don’t know about you, but when I get to a gig and see a variety of left of center instruments on stage, I get a little excited. I liken it to going to see a magician and seeing his implements set up but with little idea of what magical feats will accompany them. So when I see a ukulele, a lap-steel guitar, a banjo, one of those mini piano type things you play by sticking a tube in your mouth and a big-assed double bass on the stage set for The Audreys, my expectations swell. My expectations continue to rise as The Audreys board the stage in high spirits, immediately engaging with the crowd and one begins to feel as if you are watching them in someone’s lounge room rather than in the emotional coldness of a live venue.

Musically, its difficult to place The Audreys in any particular box, they share traits with alt-country, bluegrass and I think there was even a little salsa thrown in there at one point. The variety of the set list illustrates perfectly that there is a little something for everyone with The Audreys, which mixes album tracks from Between Us and Last Night and a few covers thrown good measure including, Rat Cat’s ‘Don’t Go Now’ (which has been immortalized on JJJ’s Like a Version), ‘Don’t Change,’ and ‘Hickory Wind’. From the sultry husk of ‘Oh Honey’ to the haunting ‘Monster’ to the humour of ‘Train Wreck Blues’ and beyond The Audreys mix tempo and instrumentation (and yes, they did use every single interesting instrument on stage) to create a cozy patchwork intertwining musical colours and textures.

Of course, none of the above would work if The Audreys themselves were not accomplished musicians. From Tristan Goodall’s effortless ability to pick delicious melodies on both banjo and guitar, to Mickey G’s wailing violin and lap-steel, to Lyndon Gray’s mesmerizing bass lines not to mention the tempered drumming of the new drummer whose name I have unfortunately forgotten, they all create a plush cradle for Taasha Coates’ powerfully haunting voice to rest upon sublimely. So if you like your music accomplished, varied, challenging and lets face it, downright beautiful, then I suggest you get yourself to any of the thirty-plus dates on The Audrey’s national tour, no matter what your musical tastes may be, they provide a little something for everyone to savour.