Gruelling anticipation filled the Astor Theatre in Perth on Tuesday night as hundreds of music lovers waited for American band Mutemath, who were about to kick off their Australian tour.
In the retro theatre, a contagious atmosphere began building, as a gathering of trendy hipsters and the larrikin laughing of enthusiastic people swelled for support act Big Scary to the headliners.
Killer lead lines, hard hitting beats, and layer upon layer of synth parts was about to stun onlookers for a two hour set of alternative rock sound.
The lights dimmed as smoke and orange light filled the large stage, the crowd roared with eagerness as the four band members appeared from the back of the room, percussion loudly in tow.
Led by bouncers through the audience, they made their way to their positions on stage. Drummer Darren King – a god-sent, mad beast of a drummer – sat on his stool and gaffer taped his headphones to his head to prepare for the onslaught he was about to inflict on his white drum kit.
Opening on “Odd Soul”, there was no doubt that this set was about to blow people’s minds.
Show pony and lead singer Paul Meany smiled with his broad mouth from ear to ear upon singing his opening lyrics, “I was once a son/ now I’m on my own.” Meany’s vocals streamed easily into the high ceiling of the theatre, complimenting the choppy groove of the song.
The stage was adorned with multiple organs, synthesisers, loopers, pedals and amps all adding to the grunt of a band that locks in together with clarity.
Into ‘Prytania’, a shrill of joy expelled from the fans as they bounced lively to the well-known ditty.
Spunky lead guitarist, Todd Gummerman, offered a glassy exterior enunciated through guitar pedal effects and clean backing vocal parts.
The beauty of Mutemath is just as the song is expected to end, through a hit or a pause, it continues into another level of energy and effects. Shocked and excited by the depth of the amazing constructions, the gathered assembly is drawn into the parallel universe of Mutemath and spellbound.
A screeching guitar initiated favourite “Blood Pressure”, the room sung along to it like an anthem. King’s drum hits were hard and consistent as exhalations were felt from person to person, the guitar licks solid and electrifying, wailing high and causing people’s hearts to skip a beat in excitement.
“Spotlight”, known for its appearance in the Twilight movie saga, had people clapping above their heads and Meany riding his mic stand, dancing erratically while charismatically delivering his decisive lyrics.
Bassist Roy Mitchell-Cárdenas, dressed in a pink muscle shirt and parading long brown locks reaching the tip of his cream Fender, delivered a dark depth and necessity on his instrument, which was well felt hardest in this popular number.
Four songs into the show and many could already walk away more than satisfied by the profundity of this New Orleans group. Meany welcomed everyone to the show and expressed his gratitude for being back in Australia after touring on the Groovin’ The Moo line up in 2012.
A random comment of hope – “I wanna let you know that tonight everything is going to be ok. No matter how your week has been” – left people connecting easily with the frontman
Song after song continued with extended instrumental solos, King breaking drum sticks as he hammered with his eyes closed and completely zoned into another realm, throwing the mangled sticks into the crowd; initiating a fight between devoted followers.
Gummerman’s strong fingers generated smooth, driven chords and smooth lead lines. Meany added layer after layer of synth or organ parts as he gallivanted between the large selection of instruments. A constant solid mix oozed out of the company.
Announced prior to their arrival, an assortment of new music was to be exhibited for the Australian fans. “We’ve been back at home, hard at work,” said Meany, “as well as becoming new fathers.”
Playing new music like “Where We Once Were”, a light mystical keys/synth driven number built into a full drum beat, had Meany dancing and connecting with his acolytes through his eclectic personality.
King and Mitchell-Cárdenas banded together in the middle of the new song to play a big bass drum and percussion solo, ending with King standing on top of his tom drum and playing his kit with force.
At the early experimental stage of their next album they decided to do something unprecedented and jam on stage together with a raw idea. They are hoping that by end of the tour they may have a song to add to the album. The masses seemed equally pumped by the idea.
It started with King dropping a beat, some loop parts layered above, and then guitar and bass were added gradually, with Meany adding synth and tentative vocal parts above.
The intensity and insanity continued to peak with “Chaos”, “Allies”, “Clipping”, new song “Hit Parade”, “Break The Same” and “Quarantine”.
Meany continued to impress the throng as veins popped from his neck through belting vocals and when he mounted his organ head first, twice! Then for an exhilarating climax, he rode an inflatable black mattress above the moshpit while still performing.
King moved to stand on top of the organ with his snare launching into another percussion interlude featuring Meany and Mitchell-Cárdenas. Gummerman complimented it by creating effects from his guitar pedals.
Mutemath left the stage at this point, leaving the crowd bursting for an encore. Feet stomped on the wooden floor building, a robust army noise egging on the enemy.
Graciously, they reappeared thanking everyone for coming and their crew. Before launching into the final mash-up of songs; Meany told a sympathetic story about the last time he came to Perth and accidentally kicked a girl in the face giving her a bloody nose. He was grateful she came back again and was very grateful for her “tolerant boyfriend.”
King started the muddle by pouring water over himself and his kit. Every time he hit, a fountain of water expelled metres high above him.
An electronic mini-guitar added to the perfect mess, which expelled weird electrified signals as it was passed out to the crowd as startling sounds continued to spill into the void.
Just when it was expected that the encore was concluding, the band launched into “Typical”. The mob howled with pleasure at the grand choice to close the show, with people moshing to the chorus, Meany walking into the middle of the crowd to dance and thank his new-found friends.
At the close of the song all four members bowed with appreciation to their fans. Mutemath drew love and attention for their flooring performance from the adoring audience, but they pretty much had them at hello.
