Live Review: Bernard Fanning, Dustin Tebbutt, Ainslie Wills

Despite Powderfinger's many years of exceptional records and accolades, there was always a fascinating tension between the band's clear commercial instincts and their equally clear idiosyncrasies as songwriters. For better and for worse, that tension remained on clear display throughout tonight's performances.

The heavy contrast between the supports provided the most obvious example. Melbourne's Ainslie Wills, playing to probably one of the largest audiences of her career to date, represented the triumph of artistry over formula. Armed with nothing but collaborator Lawrence Folvig, her consistently inventive songwriting and what is arguably one of the finest voices in the country, Wills simply dominated the room - every scratch of guitar and eddy of vocal melody swelling up and filling the space with a strangely crushing beauty.

Dustin Tebbutt, by contrast, represented the mastery of formula at the expense of genuine expression. As a technical performance, Tebbutt's set was largely faultless. His blend of acoustic folk and delicate electronics was executed without misstep, despite the increased potential for mix issues or awkward dynamics inherent within such a setup, and his voice is pleasant and inoffensive. But, between his utterly faceless songwriting and borderline somnambulant interjections, Tebbutt's performance was otherwise completely forgettable.

Unsurprisingly, Bernard Fanning split the difference between the two - offering a mix of rock-solid tradition and more surprising developments and detours. Somewhat surprisingly, his set was often all the richer for it. While he'd probably baulk at the praise, Fanning himself is a rich and complex performer. Greeting a (frankly rabid) crowd with a cheery "Evening, folks!", he conducted himself with a relaxed, self-effacing humour, but comfortably detoured into political commentary and showmanship at the drop of a hat (often to spotlight backing band The Black Fins).

Musically, his set spanned his entire career, from a piano-led rendition of Powderfinger's These Days through a massive Wish You Well (bolstered with a masterful guitar solo from sideman Andrew Morris) to highlights from new album Civil Dusk. His nimble supporting players have no problem transitioning from country to rock to blues (and even a fleeting cover of Prince's Purple Rain). In Powderfinger, there was an ugly tension in Fanning's songwriting. Three albums into a strong solo career, he seems increasingly comfortable rumbling in whatever direction he can find and, while that tension will always be present, he's now arguably a better artist for it.