Live Review: Holy Holy, Clews

Adelaide’s The Gov hosted Holy Holy Thursday night, and while most in attendance were there for the headliners, anyone there early enough to catch CLEWS open for them, might have left with a new favourite band.

Joining Holy Holy on the Faces tour was CLEWS, two sisters tonight playing as a four piece, who put on a rather casually outstanding set. Playful electric chords coupled with understated but melodic bass conjured emotional stories that still had feet tapping and heads bouncing. CLEWS are prolific in their ability to match tone with lyrics, achieving a restrained intimacy in their sound. Their set ended seemingly abruptly with band mates rehousing instruments before the crowd's enthusiastic applause was complete. Whether they were coolly aloof or on the verge of heatstroke, it was a beautiful performance that placed them high on our radar for future output.

Headliners Holy Holy were eagerly anticipated, with punters packed in close to the stage despite the mugginess and heat that increased by doing so. Stage right was epic for air-con and witnessing Oscar Dawson’s reputation-preceding guitar skills IRL.

Beginning with You Cannot Call For Love Like A Dog, the faster paced, heavier song was a welcome start which had the crowd in full swing, mirroring the energy of physically committed lead singer Timothy Carroll. Dawson was an equal presence, leaving many a jaw agape for the remainder of the set.

Dawson was a force throughout and demonstrated his technicality as lead guitarist and operating bassist with rubbery low octave lines combined with high fretwork. He single-handedly created an ethereal atmosphere during History - fans raised arms high and swayed in a slight, but magically-timed breeze that swept throughout the venue in that moment.

The arresting Sentimental & Monday marked a still moment among the audience, who played into the irresistible sadness of the song; hardly moving during the song, but hellaciously loud in their applause afterwards. Throughout the set, newer tracks like Faces were shown appreciation with movement, while older tracks seemed to be appreciated with a comparatively stoic response. Their latest album appears to have taken on a more aggressive direction; featuring an adoption of new-school tools, allowing for extended atmosphere and less foot tapping for Dawson on his eclectic pedal collection.

Elevator was a crowd favourite, marking an increase in the crowd’s energy. A stripped down, History filled The Gov with Dawson’s impressive variance, and was followed by the evening’s final song, Darwinism.

While the entire show was enjoyable, a favourite moment that perhaps best embodies the buy-in of Holy Holy’s audience that night, was hearing a girl who couldn’t help from singing along with Carroll… but also with Dawson’s intoxicating solos, verbalising his guitar as: “Derrrrn derrn ner ner deern DEERRRRNNN.”

Overall, it was an outstanding performance that left the crowd buzzing from Dawson’s duality, living up to his reputation as one of the most accomplished guitarists in Australia today. Employing the tried and true with unique transitions, he’s essential to the tightness and mood that drive Holy Holy’s identity.

Come back Holy Holy, and bring your friends CLEWS.