First launched in London in 2006, Communion is a simple but effective concept. An underground-style platform, it brings together both emerging and established artists, in a creative and collaborative environment.
Or as Communion co-founder and Bear’s Den member Kevin Jones put it to the large crowd on Sunday night, it’s about “amazing people…listening to everything, a real listening crowd, where people are coming to hear all the bands, not just one.”
Squeezed into The Toff’s bandroom, tonight’s “listening crowd” has four bands to lend their collective ears to. Kate Martin is first up, filling the room with her lush soundscapes.
The twenty-two year old, who originally hails from Townsville, has already released two albums and filled the Triple J Unearthed slot at Groovin’ The Moo festival.
Her accomplished, expansive songs are laden with spacey keys and trebly, looped guitar hooks. Coupled with Martin’s rich vocals, it’s a dreamy beginning that pairs perfectly with the unseasonably balmy Melbourne night.
Switching up the pace is six piece Grizzly Jim Lawrie, who take the stage and launch into a cavalcade of trumpets, shuddering bass and rocking guitars.
Their second song, “Little Lies”, is a Melbournised version of Bob Seger’s “Against The Wind”, with delicate piano keys tinkling over the heavy bass line and neat drum fills.
“Midnight Run” is a crowd favourite. It’s a moody, chugging track that plays off the enthusiastic energy in the room.
Jim Lawrie’s distinctive vocals occasionally falter in pitch, but the band’s beautiful Midlake-esque harmonies weave neatly throughout the set. It’s drummer Sam Raines who steals the show though, his driving beats forming the thumping heartbeat of the group’s melodic alt-country sound.
The Tiger And Me are up next and take the crowd in a different direction once again. Their boisterous opening number is bursting with energetic keys and the ferocious vocals of frontman Ade Vincent.
Disregarding genre boundaries, The Tiger And Me work their way through a set that combines cabaret swagger, folk, rock, and a flamboyant touch of musical theatre.
Jane Hendry’s vivacious voice electrifies the room, as does her vibrant violin playing, and touches of accordion, crashing drums and saloon-style keys add to the eclectic feel.
Not every song hits the mark, but the group certainly keep the audience on their toes – and at one point, have them all on their feet, when the drummer launches into an excellent extended solo.
In the interim between the start of Bear’s Den’s set, the crowd swells considerably. Although the night is ostensibly about all of the bands present, it’s clear that Bear’s Den are the drawcard.
Trading in the Boy And Bear/Mumford & Sons/Of Monsters And Men folk currency de jour, Bear’s Den’s rich, rustic sound suits the cosy, candlelit room.
Occasionally upbeat, but more inclined to be soulfully sombre, the band move fluidly though a number of tracks from their latest EP Agape.
Tracks like “Mother”, from Agape, are layered around finger-picked guitar, echoing banjo and stomping, sparse drums.
Singer Andrew Davie’s mournful vocals intertwine with the choral backing harmonies, as he sings about love, loss and yearning. The humble and heartfelt tone creates an atmosphere that is emotive, if not a little dim.
Though there’s nothing particularly remarkable about the set Bear’s Den’s have delivered, tonight’s listening crowd are enraptured. And in the collective spirit of Communion, that’s all that really matters.
