The juicy line-up at this year’s Splendour has given Sydney’s Enmore Theatre another opportunity to host the ridiculously prolific Sonic Youth. The band  follow up their 2003 appearance with a return that showcases material from Rather Ripped (the third album in what’s been described as a trilogy of song based work that re-visits the band’s on-going love affair with the melodic pull of good old fashioned pop music).

For a band with such a reverential following it’s no surprise that Sonic Youth are greeted with almost Beatlesque  fervour from certain sections of the crowd (although one confused punter repeatedly makes calls for the band to play ‘Grave Architecture’* – I guess once you’ve seen one 6ft plus indie troubadour with a penchant for floppy fringes, you’ve seen them all). Thurston Moore; all limbs and genial humour, acknowledges the enthusiastic reception and jumps head first  into ‘Incinerate’; atypical Sonic Youth marked by off-kilter guitars skewered by Kim Gordon’s atonal and husky drawl. As usual Gordon tempers Moore’s crowd pleasing banter with a face of stoic cool,  whose apparent disinterest is only betrayed by her body which twirls and leaps with uninhibited abandon during the likes of  ’What A Waste’ and ‘Reena’.  At 53, be-decked in plaid shorts and a sparse blue vest, Gordon continues to defy conventions of age (and gravity) by appearing no less essential than she did almost 25 years ago – it’s no wonder that boys and girls alike continue to yell heartfelt declarations to the woman old enough to be a grandmother!

Sonic Youth are on the cusp of their silver jubilee so it’s difficult, if not impossible, to sometimes avoid the pitfalls of consummate professionalism.  Whilst the band no doubt keep their enthusiastic fires lit by never resorting to greatest hit type performances (even if we are slightly indulged with Eric’s Trip) obviously they can do this in their sleep. Songs such as ‘Sleepin’ Around’ and ‘Rats’ are therefore fine manifestations of their album namesakes but lack the visceral snap of live interpretation.

Sonic Youth’s longevity therefore occasionally sucks the lifeblood out of a song but it’s mostly  responsible for a brilliant and innate understanding of  the dynamics of sound. ’Do You Believe In Rapture?’ sees Moore pose the question as an understated plea whilst Lee Ranaldo alternates between grinding out a dirty mess of chords and plucking the loveliest note sequences, all backed by Steve Shelly who marks time like a heart beat.  It’s wonderful. Likewise ‘Turquoise Boy’ into which Kim Gordon, pinpointed by a single shaft of frosty blue light,  breathes the ghost of Nico, as Ranaldo and Moore’s guitars encircle the dreamy lyrics like a cocoon. 

Unlike the positively thrifty Yeah Yeah Yeah’s the week before, Sonic Youth generously nudge 2 hours with no less than three encores. ’Lights Out’ borders on a poignant end for the evening. As a small section of the crowd try to enlist everyone in an impromptu ‘Happy Birthday’ for Moore (he turned 49 on Wednesday)  he dismisses the onset of age as irrelevant  after all we’re all gonna’ die’. As Gordon follows this with the repeated statement that it’s ‘Lights Out for You’  we’re left hoping that’s a notion that won’t apply to Sonic Youth any time soon.

* It’s a Pavement song