Live Review: Khruangbin, Harvey Sutherland

Both acts on the bill were largely instrumental trios, making this a night of very few voices. It was the music that did the talking and it transformed the Metro into a wall-to-wall sea of bodies in motion, conjuring up a celebratory vibe in the room.

Harvey Sutherland, the self-described funk synthesist, was up from Melbourne to open the show and by the end of the first song he’d won over the audience with his blend of soul, house, disco and of course the aforementioned funk. The rhythm section were quite astonishing in their fluidity and precision as they constantly found new ways to build rhythmic detail and dynamics into the music while Sutherland wove his cosmic keyboards into melodic dance floor excursions. It was an infectious set that brought to mind Steely Dan filtered through Jamiroquai.

Khruangbin have built their brand on a visual aesthetic that melds black, straight-fringed wigs with explosions of colour and choreographed stage moves delivered with a knowing half-smile and semi-detached cool. That was enhanced on stage with an excellent light show – simple, bold and dramatic utilising colour and shapes, much like the trio’s music – for the first of two sold out Sydney shows. 

It quickly became clear that they’ve spend a lot of time and effort into structuring their sets so there is a balance of peaks and valleys, from the hard funk breakbeat of Maria También to the dreamy, sweet and soulful soft tones of Cómo Me Quieres. As a trio they balanced each other out wonderfully. Laura Lee was often the most compelling with her knee drops and hip swivels and constantly light-dancing bass lines, while Mark Speer roamed his side of the stage, also in endless motion, as he explored all stylistic facets of his guitar, from psych-rock solos to dub echoes and flurries of hyper-melodic Thai funk. Holding it all down and providing a framework for the songs was drummer DJ Johnson, his playing channeling everything from hip hop breakbeats to James Brown and Portishead.

Khruangbin's breakthrough album Con Todo El Mundo provided a large portion of their set but there were also dips back into their debut The Universe Smiles Upon You, with White Gloves being a particular highlight and one of the only songs to feature all three on vocals. As the set progressed we got a strange interaction between Lee and a lonely looking green telephone which seemed kind of pointless, and a successful attempt by Speer to get everyone in the room to introduce themselves to the person standing next to them.

Before the encore the entertainment factor peaked with a medley that saw seamless transitions between songs by Ol’ Dirty Bastard, A Tribe Called Quest and Chris Isaak’s Wicked Game, culminating in the crowd joining in on the chorus to Spandau Ballet’s True, via PM Dawn. The trio showed their ability to translate their music from the intimacy of their recordings to the live stage, where they balanced nuance with deep grooves, hypnotic and sensual rhythms, humour and exceptional musicianship.