What else is left to say that hasn’t already been said about Wally De Backer? For hard-nosed critics he is considered the second coming, a chameleon of sound, texture and cathartic rhythm. For casual fans he’s the indie-looking bloke who sings that ‘Somebody’ song. Whatever the school of thought, Gotye should be considered nothing less than a game changer, an artist whose breadth of talent satisfies both the critical and commercial sides of the fence.
Beginning proceedings for the second of four sold out shows at the Forum is Husky, a recent graduate from the school of Triple J Unearthed. Fresh off signing with Liberation Music, the band lets loose a set that justifies their juicy record deal. Lead single ‘History’s Door’ is particularly well received.
As Gotye arrives to greet his salivating followers, it is apparent no expense has been spared in emulating his pitch perfect studio sound. On stage is a battalion of percussionists, horn players and bass/guitar wielders. There’s even an animation specialist on hand to operate the 14-foot projector streaming behind the band. Such an entourage is testament to his uncompromising attention to detail.
Although De Backer is a perfectionist’s perfectionist, there is still a sense of visceral energy that empowers and gives bite to his performance. He begins with ‘Eyes Wide Open’ and quickly transfixes the excitable crowd. To balance the vibe De Backer follows it with ‘State of the Art’, a noir-infused journey from Making Mirrors that holds up seamlessly live. His new LP continues to get a solid once-over with the Motown stylings of ‘I Feel Better’ and a rendition of perhaps his finest track, ‘Save Me’.
Somewhat unexpectedly, De Backer unleashes his omnipresent hit single mid-set. Even without a secondary vocalist, ‘Somebody That I Used To Know’ retains its value with the crowd substituting for Kimbra’s verse. The atmospheric ‘Hearts A Mess’ (one of the few tracks from Like Drawing Blood) follows soon after before a similarly haunting ‘Bronte’ closes the set.
After the conventional foot stomp and cricketer’s clap, the band reforms to complete a rousing encore. In many ways the live performances of ‘In Your Light’ and ‘Learnalilgivinandlovin‘ trump their album counterparts, especially with De Backer’s thumping drum solo during the latter.
Those doubting Gotye’s ability to bring his intricate studio sound to a live setting must now cast their stones aside. He is a rare breed, a performer who deserves every gushing superlative and adjective thrown his way.
For the record, let’s add one more to the list; remarkable.
– Paul Bonadio
