Acclaimed Melbourne superstar Courtney Barnett performed to a packed crowd at The Tivoli on Wednesday night, touring her latest album Tell Me How You Really Feel. Joining Barnett on tour were fellow label mates East Brunswick All Girls Choir, who are also a part of Barnett’s very own record label Milk Records.
A gripping support performance from East Brunswick All Girls Choir was led by frontman Marcus Hobbs, whose voice was soft as butter in the more subdued parts of their set, but could certainly take a sharper turn to be overwhelmingly raw and raspy for those more dynamic moments. The set ebbed and flowed from charming three-part harmonies and trickling guitar parts similar to Jeff Buckley, to darker more rock sounding songs likened to that of Nick Cave and The Drones. Performing tracks from their latest album Teddywaddy which was released earlier this year, East Brunswick All Girls Choir delivered a jangly rock set, leaving the crowd charged and ready for the star herself to take to the stage.
Barnett managed to quieten the rowdy audience as soon as the lights dimmed and she strummed the first chord of opening track Hopefulessness, from her latest record. You know you’re in for a ripper concert when the crowd is already chanting along to the first song, ’It’s ok to have a bad day’ - what a mantra too. As Barnett started playing Avant Gardener from her first EP - really where it all began for her 6 years ago, it was amazing to reflect on her journey as an artist and how far she has come in such a short amount of time. The band was as solid as ever, with original band members Dave Mudie and Bones Sloane driving the sound with their effortless playing, think slinky bass and scuzzy drums, and newest member Katie Harkin fleshing out the sound with subtle rhythm guitar and keys parts.
Barnett sure knows how to energise an audience, with darker rock songs like I’m Not Your Mother, I’m Not Your Bitch really allowing the audience to go ballistic. After this broody number it was almost like Barnett was toying with the crowd, launching into a jazzier version of old-favourite, An Illustration of Loneliness, with her usual witty lyrics drawled in a deadpan voice. Other songs like Nameless Faceless were a reminder of Barnett’s advocacy for equality in the current social climate, providing a social commentary on bullying, with lyrics, ‘Men are scared that women will laugh at them, I wanna walk through the park in the dark, women are scared that men will kill them, I hold my keys between my fingers.’ Barnett really does have a knack with words, taking topical subject matter such as this and making a statement, yet still writing a song that the audience can bob their heads along to. Speaking of which, it was refreshing to have the audience sing the Depreston lyrics from start to finish, a quieter ballad from Barnett’s previous album, and a light-hearted take on our generations frustrations surrounding the housing economy. Whilst this was probably the most mellow song in the set, it was clearly still a crowd favourite, with Barnett remarking after the song, “Careful, I nearly started crying,” in response to the impromptu singalong. It was no surprise that Barnett would return to the stage for an encore, surprising the crowd with a stunning solo cover of Everything is Free, by none other than acclaimed songstress Gillian Welch. Barnett then went on to play Anonymous Club, giving a shout out and dedicating this song to local legend Shannon Logan (owner of record store Jet Black Cat Music), before closing a stellar set with certified banger Pedestrian At Best.
It’s easy to think of Barnett as a modern-day Patti Smith, an artist who is unafraid to break the norms and write such ingenious work. Since seeing Barnett play solo back in the early days, it’s incredible to see how she has grown and truly honed her craft both on-stage and in her songcraft. Barnett can certainly put on a damn good rock show, and for slacker rock, there’s nothing slack about it.
Kassie Sofia