Outside of live shows, Tame Impala is frontman Kevin Parker’s personal project. The multi-instrumentalist, expertly talented in sound manipulation, composes the albums on his own outside of festivals and concerts.
Touring their new album, Lonerism, Tame Impala have raced to claim the top spots of many prestigious Albums of the Year lists. Given the calibre of their live performance it comes as no surprise that they are such a widely celebrated band so early in their career.
Keyboardist Jay Watson panted out the opening lines of the mantra-driven song “Be Above It”, as the four other members of Tame Impala gathered around the stage.
Elated cheering drowned the introduction to “Solitude Is Bliss”, as strings and percussions dissolved to synths and Parker’s spacey vocals rose above the dreamily swaying fans.
Watson fell heavily against his keyboard as this action was reflected in the slow-motion crowd, their faces adorned with phased-out smiles.
Green ribbons of electricity danced in shapes against the dark background of HQ, as Tame Impala placated the sold-out venue with their unique emulation of 60s psych-rock.
Modest words of thanks quietly followed close behind each song, as Parker shyly batted his hair from his face. Pointing out his mother on an elevated platform above the stage, Parker explained that he feels “so good and chilled out in Adelaide.”
This sentiment was an introduction to the heavy crashing confidence of “Elephant”. Rogue crowd-surfers rose above the smoky haze of the setting, only to be dragged back down by security. Dancing blossomed to cheers that faded below the extended musical solos, culminating in a harmonious “yeah” by the five musicians and an abrupt end to the blissed-out atmosphere.
Steadily threading the rueful introduction to “It Feels Like We Only Go Backwards”, Parker’s eyes glazed over the audience as the reverb from his vocals flooded the venue.
Weaving in and out of lucidity, the viscerally intimate songs led each fan away from their fervently swaying peers to their own insular quietude.
Eyes closed, arms drifting in mid-air, body swaying to the free-flowing music, an introspective experience was held close by each hippie and Triple J devotee alike.
The ethereal indifference of Parker to the outside world is a key theme in his songs, his transcendently psychedelic melodies warmly drawing him away from his hustling surroundings. An aural kaleidoscope, his albums echo isolation and passive sequestration.
Ending with the heightened confusion of “Apocalypse Dreams”, the fluidity of Tame Impala’s abstract sound was met with the distorted graphics of eyes that wandered through flying astronomies and otherworldly geographies.
Returning to play an encore of “Half-Full Glass of Wine”, Tame Impala threw a signed drum skin over the throbbing audience.
The deliriously dreamy chords soared through HQ, precariously blanketing the whirring clapping of hands that rose to the level of the band.
Tame Impala’s live show was more focused on the instrumental sections of the tracks, as these components were drawn out and added to.
The pulse of the crowd reflected the melodic euphoria of these solos, and the near-perfect recital of the recorded versions is an impressive feat for a band that is merely an added necessity for Parker to construct the built-up sound of his tunes in a live setting.
Check out our photo gallery of Tame Impala’s show at HQ here.
