It's Hamer Time
Neil Finn
Hamer Hall
March 12 & 13, 2014
Sometimes you look back on the way things are timed and the way they seem to fall into place. For me, there's always a strong link between what I'm listening to when certain events take place. March was a rough month, so the timing of Neil Finn's two Melbourne shows couldn't have been better, and of course, there was always the option of not going at all, but that was never going to happen.
Thankfully, Finn's latest album, Dizzy Heights, isn't like his last solo release, One Nil. It still renders me gobsmacked when I'm reminded that the latter came out about 14 years ago, and its predecessor, Try Whistling This, 15 years ago. I absolutely love Try Whistling This, even now, and One Nil never really hit the mark for me. Dizzy Heights does take a few listens to appreciate fully, apart from a handful of immediately catchy gems, like Flying In The Face of Love, Dizzy Heights and Pony Ride. Neil has always been intrepid, and unafraid to stretch his brain's legs creatively, and work with new people. As many Crowded House fans would (dare I say this) agree, there was never any need for him to break them up in the first place, he could have done exactly what he's doing now - having fun dabbling in different projects to keep his fertile mind happy and satisfied, returning to "that" band intermittently.
From the little media I've seen, the album was recorded in upstate New York, with Dave Fridmann as producer. Fridmann has also worked with the likes of Mercury Rev and Flaming Lips. I haven't heard enough Flaming Lips to compare, but anyone who listens to Mercury Rev would definitely hear his influence on tracks like White Lies and Alibis and the closer, Lights of New York, which meanders like an old show tune. The unusual Divebomber, initially had me furrowing my brow, but it's grown on me and as happens sometimes, I like it more after having heard it live. One of the most striking things about Dizzy Heights is that Neil seems to have embraced the falsetto, and gone way out of his regular vocal range. Whether that's due to his producer, or something he initiated is hard to tell, but it works.
Similarly, songs like Recluse and Lights of New York are a beautiful reminder of how proficient Finn is on piano and how elaborate his arrangements are. Most of the time he's quite happy to be out front noodling away on guitar, so it was great to see him at the piano so much during these shows. The few reviews I've read have commented on the heavy drum-bass-R&B feel of the record, and this is accurate. I don't know if it's due to Finn's wife, Sharon, playing bass, but put it this way, it's very difficult to listen to the album and sit still. It churns and throbs and grinds - I'd just love to hear it on vinyl hooked up to some bigarse Bose speakers. Perhaps Sharon is reticent and quite happy to be safe at the back of the stage next to the drums, well away from the audience, but given the influence her playing seems to have had on the overall sound of the record, it's quite a shame that she's not out front.
The lasting impression I have of Neil from these two shows is that he seems so youthful, playful and sprightly, with an energy I haven't seen in a long time. He was definitely enjoying himself touring with Paul Kelly, but I imagine it's very different when the show is all yours. Both nights saw him run back on to the stage for the encore, sliding on top of the grand piano. As he said, the venue provided him with a grand, so he had to take advantage of being able to pull a stunt like that. Anyone could be forgiven for thinking that devoting much of the set to new material was rather indulgent, and Neil fessed up to this himself, thanking the crowd for humouring him. Predictably, staples like Message To My Girl, Don't Dream It's Over and Fall At Your Feet all got the warmest receptions. Some rarities, and perhaps unusual, choices also popped up, like Love This Life, One Nil's Turn and Run and Into The Sunset, and Faster Than Light from Try Whistling This. The sublime Only Talking Sense, which made an appearance during the Finn/Kelly shows really can't be described, and I can't believe it's nearly 20 years old.
Towards the end of the first encore, Neil took pity on the lone guy standing up in his spot and dancing and asked why no one else was getting up to join him. He's always been one to encourage the crowd to get up out of their seats at theatre shows and there's many a time when he's scolded ushers for being too harsh on fans who just want to come up to the front or get up and dance. Next thing we knew, about 20-odd fans were up on stage (just imagine all the selfies being taken and how many Facebook/Twitter posts were going off) singing Weather With You. Pardon the crud photo via my phone, but it at least gives you a look at the beautiful tapestry backdrop courtesy of former Split Enz member, Noel Crombie, and his wife, Sally - and a little army of helpers, judging by the entire row of seats they all took up at the second show.
I've spent the majority of my life with Neil Finn's words and music rattling around in my head. I've heard several different songwriters comment on how people come up to them and say that their music has been a "soundtrack" to their life. It sounds like such a cliche, but it also seems as though it's quite true for many. This stuff has poured from the writer's head, onto tape, and then into your head. That's if it resonates with you in the first place, which is a feat in itself. There's a great Kev Carmody song, I've Been Moved, and it's great to be reminded that it's still possible.
Hamer Hall
March 12 & 13, 2014
Sometimes you look back on the way things are timed and the way they seem to fall into place. For me, there's always a strong link between what I'm listening to when certain events take place. March was a rough month, so the timing of Neil Finn's two Melbourne shows couldn't have been better, and of course, there was always the option of not going at all, but that was never going to happen.
Thankfully, Finn's latest album, Dizzy Heights, isn't like his last solo release, One Nil. It still renders me gobsmacked when I'm reminded that the latter came out about 14 years ago, and its predecessor, Try Whistling This, 15 years ago. I absolutely love Try Whistling This, even now, and One Nil never really hit the mark for me. Dizzy Heights does take a few listens to appreciate fully, apart from a handful of immediately catchy gems, like Flying In The Face of Love, Dizzy Heights and Pony Ride. Neil has always been intrepid, and unafraid to stretch his brain's legs creatively, and work with new people. As many Crowded House fans would (dare I say this) agree, there was never any need for him to break them up in the first place, he could have done exactly what he's doing now - having fun dabbling in different projects to keep his fertile mind happy and satisfied, returning to "that" band intermittently.
From the little media I've seen, the album was recorded in upstate New York, with Dave Fridmann as producer. Fridmann has also worked with the likes of Mercury Rev and Flaming Lips. I haven't heard enough Flaming Lips to compare, but anyone who listens to Mercury Rev would definitely hear his influence on tracks like White Lies and Alibis and the closer, Lights of New York, which meanders like an old show tune. The unusual Divebomber, initially had me furrowing my brow, but it's grown on me and as happens sometimes, I like it more after having heard it live. One of the most striking things about Dizzy Heights is that Neil seems to have embraced the falsetto, and gone way out of his regular vocal range. Whether that's due to his producer, or something he initiated is hard to tell, but it works.
Similarly, songs like Recluse and Lights of New York are a beautiful reminder of how proficient Finn is on piano and how elaborate his arrangements are. Most of the time he's quite happy to be out front noodling away on guitar, so it was great to see him at the piano so much during these shows. The few reviews I've read have commented on the heavy drum-bass-R&B feel of the record, and this is accurate. I don't know if it's due to Finn's wife, Sharon, playing bass, but put it this way, it's very difficult to listen to the album and sit still. It churns and throbs and grinds - I'd just love to hear it on vinyl hooked up to some bigarse Bose speakers. Perhaps Sharon is reticent and quite happy to be safe at the back of the stage next to the drums, well away from the audience, but given the influence her playing seems to have had on the overall sound of the record, it's quite a shame that she's not out front.
The lasting impression I have of Neil from these two shows is that he seems so youthful, playful and sprightly, with an energy I haven't seen in a long time. He was definitely enjoying himself touring with Paul Kelly, but I imagine it's very different when the show is all yours. Both nights saw him run back on to the stage for the encore, sliding on top of the grand piano. As he said, the venue provided him with a grand, so he had to take advantage of being able to pull a stunt like that. Anyone could be forgiven for thinking that devoting much of the set to new material was rather indulgent, and Neil fessed up to this himself, thanking the crowd for humouring him. Predictably, staples like Message To My Girl, Don't Dream It's Over and Fall At Your Feet all got the warmest receptions. Some rarities, and perhaps unusual, choices also popped up, like Love This Life, One Nil's Turn and Run and Into The Sunset, and Faster Than Light from Try Whistling This. The sublime Only Talking Sense, which made an appearance during the Finn/Kelly shows really can't be described, and I can't believe it's nearly 20 years old.
Towards the end of the first encore, Neil took pity on the lone guy standing up in his spot and dancing and asked why no one else was getting up to join him. He's always been one to encourage the crowd to get up out of their seats at theatre shows and there's many a time when he's scolded ushers for being too harsh on fans who just want to come up to the front or get up and dance. Next thing we knew, about 20-odd fans were up on stage (just imagine all the selfies being taken and how many Facebook/Twitter posts were going off) singing Weather With You. Pardon the crud photo via my phone, but it at least gives you a look at the beautiful tapestry backdrop courtesy of former Split Enz member, Noel Crombie, and his wife, Sally - and a little army of helpers, judging by the entire row of seats they all took up at the second show.
I've spent the majority of my life with Neil Finn's words and music rattling around in my head. I've heard several different songwriters comment on how people come up to them and say that their music has been a "soundtrack" to their life. It sounds like such a cliche, but it also seems as though it's quite true for many. This stuff has poured from the writer's head, onto tape, and then into your head. That's if it resonates with you in the first place, which is a feat in itself. There's a great Kev Carmody song, I've Been Moved, and it's great to be reminded that it's still possible.
posted by yossarian | 5:21 PM
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