Following an explosion of activity in Adelaide, The Whitlams and Pete Murray closed off the most vibrant period of the year for this usually sleepy city. The show acted as a fond farewell to the past month of festivities, with the end of the Fringe and the Adelaide Festival all looming over the exhausted city.
The Depot is a venue set up specifically for this cause. Tagging along with the Fringe (and to be similarly dragged away with it), its bric-a-brac appearance camouflages a flourishing performance space. So much so, in fact, that despite being a portable stage it actually appears to be the most permanent structure in the vicinity.
Haphazardly organised, the venue acted as a temporary home for hundreds of plastic chairs; humble seats surrounded by a fence blocking general admission from the bronze to gold class attendees.
Undeterred by the casual set-up, fans crowded in close to listen to the talented Australian musicians. Joined by the Adelaide Symphony Orchestra, it was already clear to paying customers that the $90+ they spent on tickets would not be going to waste.
The Whitlams played to a setting sun. As darkness slowly spread over the venue, frontman and keyboardist Tim Freedman warmed the audience with his vocals. A mesmerising violin solo during the charming “Charlie #1” silenced the chattering crowd momentarily, and then again as Freedman’s vocals reached over their voices.
The Whitlams’ “Fondness Makes the Heart Grow Absent” was a bittersweet highlight of the show, with the ASO heaving the grieving lyrics into orchestral grandeur. Followed by “Blow Up The Pokies”, the pleasure of seeing this band backed by the ASO was acknowledged by onlookers as they sang along.
Running half an hour behind schedule, the orchestra lifted the spirits of the waiting listeners before Pete Murray himself wandered on stage to a warm welcome. The smooth clarity of his voice immediately enveloped onlookers in a comforting ease, making the wait worthwhile.
Within minutes the audience was happily jiving to Murray’s tunes, the humble athlete-turned-musician exhibiting an easy-going composure throughout the show. Having been absent from the touring scene since the release of 2011’s Blue Sky Blue, the way the audience sang along to “Better Days”, “Always a Winner”, “Free”, “Feeler” and the pervasive “Opportunity”, made it seem like he’d never been away.
Murray’s relaxing and wistful music was offset by the sweet disparity of his melancholic lyrics. The layered effect the ASO produced, though perhaps better employed during The Whitlams’ performance, built upon this darkness and expertly guided each song towards its respective emotional direction.
However, despite his fame and obvious natural talent, strip away the orchestra and Murray is the same slow summer singer of his records. By themselves, Murray’s pensive harmonies merely resonate a calm simplicity, and his presence doesn’t necessarily command attention. This is no criticism of Murray, as his records definitely succeed in what they offer, but the talkative audience for this show was barely under his control
Despite this disconnect, Murray’s music served to close out the evening well. An introduction to his other band members and a two-part encore, beginning with “Saving Grace” and finishing with his bitter “So Beautiful”, acted as a glowingly peaceful conclusion to both his set and the month of festivals in Adelaide.
