A self-entitled “show of contrasts,” Mr. Wally De Backer, aka Gotye’s concerto performance at Brisbane’s Riverstage was, as stated, a performance.
There’s an indistinct yet definitive line between a concert and a performance, and Gotye navigated its rocky waters like he navigates his melodic musings; with good natured humour, unrivalled flair, and a passion that comes through in the way he closes his eyes in one song, and laughs his way through the next.
It was a beautiful night and the picnic blankets were out, people were happily chatting and there was that vibe you don’t usually get at the big venues, intimacy.
Everyone was so unbelievably chilled and there was none of that mosh pit madness, the hardcore fans simply got there earlier while everyone else filtered in leisurely, chatting about the show to come.
Things picked up quickly though as De Backer walked on stage. Jumping into the intro from Making Mirrors, smoothly followed by “The Only Way,” the venue was filled with those iridescent sounds the crowd knew and loved so well.
“Smoke And Mirrors” was another slick performance, making it easy to forget everything and groove along; and it seemed like that was what everybody was doing.
People were dancing with themselves and each other, the imagery behind the band projecting an intriguing story of a boy morphing into a bear. (r was it a bear morphing into a boy?) The whole show was similarly shrouded in an eerie kind of mystery – but of the accessible type.
It felt as if it didn’t matter whether De Backer and his band were playing at Madison Square Garden, or some secret local joint that seated 20 people. They treated the venue like it was an intimate gathering, with friendly banter tossed between those on stage and those in the audience; and crazy, comedic acts like Barry Morgan (apparently world famous in Adelaide) making an appearance in “State Of The Art.”
Probably best described as a somewhat classier version of Austin Powers, Mr Morgan taught the audience his ‘one finger method,’ bringing with him the Lowrey Cottilion organ used in “State Of The Art” and re-teaching De Backer how to use it.
“Barry, you’ve already sold me this organ, but I want you to sell it to me again.” The whole thing was hilarious, and the audience responded with a knowing chuckle and a growing respect for the man behind the mic.
It takes someone special to turn a venue that huge into a dimly lit gathering of fifty people, and that’s a huge testament to De Backer.
Contrasting to the funk and groove integral in “State Of The Art” and “Thanks For Your Time,” De Backer gently asks “can we play a couple of quiet songs here in the park tonight?”
A simple question that represents the general feel of the entire concert – just a group of people, gathered in a park, to listen to some great music and have a good time.
“Night Drive” came next, and it cemented what was already a beautiful show. In the moment, the crowd assembled at Riverstage truly felt infinite in the music offered (to quote The Perks Of Being A Wallflower), and continued to do so in ‘Bronte’.
A highlight was definitely Bertie Blackman, in a sheep costume, singing to De Backer donned in wolf ears in “Somebody That I Used To Know,” and the crowd favourite “Hearts A Mess” was also sung with vehemence by not only those on stage but those on ground level too.
But the encore just made the whole night. After such a magnificent set, “I Feel Better” and “Learnalilgivinanlovin” were so groovy and fun, if anyone was still a virgin to the dancefloor they’d well and truly made the trip by now. It was a feel good vibe, and one that ended the night on a high.
So forget all the debates going around behind the commerciality of ‘Somebody That I Used To Know,’. It doesn’t mean anything. The man has passion and skill, he gives everything to his shows, and he gave it all to this one complete with a smile and a show of great musicianship. Well done, Mr. Wally De Backer.
View the gallery of Gotye’s show at Brisbane Riverstage here.
