When an iconic group the likes of You Am I announces an album show (or dual album show as the case may be), the word ‘nostalgia’ gets touted around to a greater degree than is probably fair.
It is far more likely that any nostalgia experienced in Sydney’s Enmore Theatre was by the packed house of 30-to-40-somethings channelling their teens and 20s all over again, rather than by the band of musicians themselves.
The folks rapidly gathering in the foyer indicated many were keen to relive that magical night in September of 1996 when You Am I lit up the night at The Metro Theatre with a set-list that was guaranteed now to be almost replicated 17 years on.
No surprises or guessing the set tonight. Tim Rogers emerges and is joined by Rusty Hopkinson on drums and a cellist for “Hourly, Daily”, as remaining members Andy Kent and Davey Lane emerge during the closing stages of this sing-a-long number.
Sydney crowds, by reputation, usually take a little time to warm up, though not so tonight. The room erupts to the instantly recognisable alarm-clock-ringing intro to “Good Morning”, and Rogers gets the arms flailing with some signature sideways-strut and windmill strumming to bring the energy right into the room from the outset.
The Hourly Daily set is interposed with the addition of horns and strings just where they needed to be, and Lane trades strings for keys in all the right places. Songs like “Heavy Comfort” benefit well from this treatment, and Hopkinson gets the room clapping in time during “Who Takes Who Home”.
The only minor blemish was the noticeable absence of harmonising vocals from Kent who kept his role quite minimal, rather allowing his comrades to take the bulk of the backing duties.
One rare heckler is heard demanding the group to “try harder”, and is sharply disposed of by Rogers in typical style; “Try harder? I am fucking trying mate, that’s probably why your girlfriend has spent more time looking at me than at you!”
To be fair, Rogers seems truly humbled by the occasion, and takes great pains to thank those in and around the group who have supported them during the years; from managers, touring bands, mentors, and fans; though he saves a special note for his bass player, simply remarking “Thanks for saving this band, Andy Kent”.
It’s then a short break in proceedings, time enough for a costume change and a beer, before three primary-coloured squares are projected up as the backdrop for the Hi Fi Way set.
1…2…3…4… Rogers counts the group into “Ain’t Gone And Open” and it’s at this time that eyes can’t help but be drawn to his blue crushed velvet trousers. Say what you will, the man knows how to dress.
It’s a raucous affair by now; from the organ-lead “Minor Byrd”, through what felt like communal choir experience of sorts during “Cathy’s Clown”, “Jewels and Bullets”, and “Purple Sneakers”, sweeping up to the jangling “Applecross Wing Commander”, it was very loud and it was most glorious.
“How Much Is Enough” indeed, as the group departed stage thus temporarily, the wailing Enmore crowd roared demands for more. The band was quite happy to oblige, returning for encore that was highlighted by a smashing rendition of “Young Man’s Blues” and of course “Berlin Chair” bookending a couple of rarer live treats.
There’s not much that hasn’t already been said that could further espouse the virtues of the two marvellous records that were rendered live for this tour. Their place, and that of the band who work harder than most to manicure them into flower again and again, is all but assured in Australian music folklore. With vinyl editions of their classic albums now being issued, one can only hope that those little black discs keep on spinning long after You Am I retire from life on the road. May that day not come for a bloody while yet.
