Whitley/ Seagull
Jive
Fri 23 May


After his impressive debut album 'The Submarine', this was a much anticipated headlining tour for Whitley (aka Lawrence Greenwood). With the late cancellation of US performer Howie Day due to illness, the lineup was shuffled to compensate, Seagull playing an extended set and Whitley playing a split set.

Seagull was backed by Whitley's live entourage, including Whitley himself on bass, but whilst his recorded material shows definite potential, the live translation was more of an aural ordeal than anything else. The act was not entirely awful, but the rare glimmers of what Seagull is really capable of producing were overshadowed by a cacophony of eardrum assaulting noise. Any discernable melody was obscured by the overpowering metallic drone of the backing instruments. You have to give the guy credit, Seagull seemed to bare his soul to the restless crowd, but while the emotion was clearly felt by the band, it was difficult to see the angst-ridden tracks resonating with the crowd, who seemed far more intent on summoning the start of Whitley's performance.

After the wolf whistling and numerous declarations of loving intent by girls who looked far too young to be there (and boys who looked perhaps a little too old to be accompanying them), along came Whitley. Completely clad in western attire, he had instant rapport with the teeming crowd. "I need you to be respectful of the acoustic nature of the first part, but for the second part get drunk as hell and go crazy. Shot tequila, snort some no-doze or something, but go nuts!" It seemed a few people needed little encouragement, the restless nature of the crowd provoking instant repartee, appropriately directed at the front row: "drunk girl down the front, hold your booze! I'm not afraid of you and your rapid fire text messaging and camera phone!"

And so the set began. Cheap Clothes, the first track from the album, was followed by More Then Life and the stunning cover of Jeff Buckley's Mojo Pin. After a short break he returned to the stage with the full band, presenting far heavier versions of many of the album tracks, as well as some new material.

In complete contrast to 'The Submarine', the set was more of a comedic experience than the soulful mood of the album. Perhaps it was this dichotomy of performance that prevented any real momentum, but the music certainly seemed secondary to the crowd pleasing antics. Some seemed enthralled, not least of all the quartet of females swaying wistfully and breathily mouthing the lyrics word for word. Perhaps Whitley garnered the idea of the split set from his support slot on the upcoming Powderfinger tour, and the result was interesting to say the least. The new tracks were impressive, as was his solo performance where he showcased his incredible talents, but I really had hoped for greater performance depth in accordance with the album.

Suzi Gunn