The term ‘supergroup’ can have an unfair stigma attached to it; a group of inflated egos banding together to collectively play sold-out shows of sub-standard material to a ready-made fan base, for instance.
Modern music is increasingly littered with these (think whatever Slash is currently doing), but Divine Fits are here to show us it’s not all as bad as Zwan would lead you to believe.
Melbourne’s Delta Riggs open proceedings and deliver their usual swashbuckling bluesy rock to a mildly enthused crowd. Whilst it’s probably fair to say that their brand of music is rather derivative, they are nonetheless an entertaining and tight group on stage.
The Delta Riggs recently had the privilege of opening for Primal Scream, and seemed a much more congruous choice as a support act tonight than they did then.
Augmented staccatos of heavily synthesised sounds welcome Divine Fits on to stage, and Britt Daniel’s echoing vocal and muted bass tones sets the vibe for the night, as the crowd seems to quickly materialise out of the many dark hallways and courtyards of Manning House to gather around the North American four-piece.
Early through the set, and especially during ‘Flaggin’ A Ride’ the complexity of noise is almost overwhelming, it becomes difficult to differentiate where sounds are coming from.
The fastest, thickest tremolo you can imagine has you looking between Dan Boeckner’s guitar and the synthesiser, never really being sure where the sounds are emanating from. This is not at all a bad thing.
It’s nice to see Daniel casually strolling across stage during ‘What Gets You Alone’ to steal cheeky glances with synth guru Alex Fischel, the band seem to be genuinely having a good time and are extremely gracious with the crowd.
“Holy crap, thank you so much,” exclaims Boeckner before a case of the old “guitar/bass switcheroo” as he trades weapons with Daniel for ‘Would That Not Be Nice’.
There must be something in the water in Columbus, Ohio. Something that aides musical talent and a general vibe of cool.
Sam Brown drinks this water, and uses it to fuel some of the most intricate yet driven percussion, which forms the floor of this group. It’s evident not just to the audience, as whenever Boeckner or Daniel take a break from vocal duties they instantly spin around to face the drums kit and play to their maestro. It’s a goddamn spectacle to watch.
For the gear heads, Boeckner’s uber-cool, thin-line, hollow-body Telecaster is a spectacle to behold in itself, and delivers the unique sound that drives ‘Baby Get Worse’.
“This next one’s about heartbreak and feelings…” he remarks as he then puts down the guitar and takes his mic in hand for ‘This Love Is Real’.
Duelling guitars marks ‘Civilian Stripes’ as Daniel trades 4 strings for 6, allowing Fischel to drive the bass from the synth to round out the night.
Club show crowds don’t often get treated to (uncontrived) encores, but the cheering Manning audience lure the group out to play a surprising Kings of Convenience number. This is where the night steps up a gear.
If you’re a touring band playing in Australia, and you choose to cover a Young Charlatans tune penned by Rowland S Howard (you all know the one) as your encore, and you deliver it in the way that Divine Fits did tonight – then you are well deserving of the rousing applause you receive.
