Live Review: Jack Ladder & The Dreamlanders, Alex Gow, Roadhouses

After getting stuck in traffic with "the worst Uber driver", Roadhouses made a delayed entrance to the stage, singer/guitarist Yvonne Moxham admitting she was stressed before undertaking the perfect relaxation treatment that is this band's music: shimmering chords that hang in the air, drums that vary between barely there and tumbling percussion and basslines that add warmth and melodic interplay. They've just released their debut, self-titled album and this was a welcome showcase of its songs on a bigger-than-usual stage.

Alex Gow has stepped out from the full band set-up of Oh Mercy and it serves him well. Without the trappings of 'rock music' behind him it allows his songs to find a direct line to the ears and minds of his audience.

Gow is a hard one to peg down. Literate songs often play it straight, but also make pleasing diversions into psychedelic and wildly imaginative scenarios. His performance wonderfully showcased his talents as both a guitarist and sly humourist.

The stock and standing of Tim Rogers (Jack Ladder's real name) continues to rise with each new release, but his latest, Blue Poles by Jack Ladder & The Dreamlanders, is clearly the high-point of his career thus far. This show was without guitar exhibitionist Kirin J Callinan, which allowed for a different dynamic on stage and the feeling of a steadier ship and a more studied approach to the songs.

While he's certainly a tall guy, one is always taken aback by how Ladder dominates the stage. His bird-nest hair, windswept and unkempt, offset by a casual suit jacket like some kind of new-romantic, bohemian beatnik. The start of the band's set was underwhelming, low on atmosphere and energy. New songs such as I.N.M never found their sweet spot, but four songs in it all started to click. 

Rogers seemed to relax, smiles appearing more frequently with the band falling in behind him and hitting their stride. Susan's dark pulse, the haunting Blue Mirror and the well-received single White Flag were all highlights while dips into the back catalogue - Come On Back This Way and Hurtsville (featuring Alex Gow) - were equally rewarding. Rogers looked more relaxed than ever, moving with a sense of commanding ease now that he's found the key to that place where art rock and dark balladry meet on the dance floor.