The historic Astor tonight plays host to The Whitlams, forming in Newtown, Australia in 1992 They’re here tonight to take us through their early years from 1993’s ‘Introducing The Whitlams’, 1995’s ‘Undeniably The Whitlams’ and 1997’s ‘Eternal Nightcap’.
The albums that are being showcased tonight featured the distinctive double bass-playing of the late Andy Lewis, who died in 2000. Therefore, complementing The Whitlams tonight is Scott Owen, known not only from The Living End, but also for his double bass playing (& acrobatics!).
Kicking off with songs about drug addiction and suicide, Tim Freedman takes a moment to remind us they’re finishing up seven weeks of touring across Australia and whilst rehearsed, admit to feeling a little ragged! Their brutal timetable does not seem to hinder the enthusiasm they put into playing their songs and they’ve already got the crowd hooked. The double bass bringing that fantastic deep bouncy beat, the head bopping & toe tapping sitting in juxtaposition of the harsh subject matter
We’re changing tempo and having a slow-dance enticing moment whilst Tim sings, ‘She’s So Lovely’. Rising to the crescendo of the song Jak Housden’s electric guitar takes centre stage and shines, tickling his fender telecaster.
As a spotlight draws on Tim and his keys, the band exits stage right and we’re treated to a beautiful rendition of ‘The Curse Stops Here’ from their 2002 album ‘Torch the Moon’. “I don’t think the ghosts helped tonight”, retorts Tim, and whilst he says he “fuddled his way through”, I thought it was beautiful.
Woven between songs are honest & amusing stories, not just about where the songs originate, with tales of nights at The Gershwin & Mardi Gras experimental drug taking equalling a surprise song, but also their historical absence from Perth… $2k one-way to fly across country I might stay home too!
The night is a homage to The Whitlams and after a ‘short’ intermission of a “Perth 20 mins” we’re onto the second era of their music , bringing in a whole other dimension by the move to electric bass. ‘Royal in the Afternoon’, a personal highlight, is an example of the bendy hook-laden tracks that captured the hearts & ears of Australians.
Silence overwhelms and we are presented with the tales of Charlie (Charlie No. 1, Buy Now Pay Later (Charlie No. 2), and Charlie No. 3 ), slowly moving to a sing-along it is a poignant and touching moment, not only for fallen friends but, a moment to reflect a subject matter which, unfortunately, connects people.
We’re picked back up with classics such as ‘Melbourne’, ‘Blow Up the Pokies’, ‘Up Against a Wall’ and treated to a bass off with Scott sneaking back onto stage, having a play with Ian Peres’s locks before, picking up his double bass & fantastically playing off each other.
Following instruction from Tim, the crowd is to “stand for the next 3 minutes with no castigation from those behind you”, the energy & enthusiasm is palpable, The Whitlams complimenting each other wholly, showing their strength as a four-piece with the welcome inclusion of Scott who fits in perfectly.
With uproarious applause they finish the evening with cheers and foot stomping for more, I’m convinced encores are an opportunity just to feed musicians egos however, in this case they deserved it.
With thanks to Wildheart Publicity for the media access.
Photos by Hunter Brothers Media.
GALLERY
