Live Review: Wavves, Unknown Mortal Orchestra

The Corner is packed out with punters hoping that tonight's double headliners will wipe away any regret they have for not making the trip to Byron this weekend. The room is buzzing even before Unknown Mortal Orchestra take the stage, and the pre-emptive appearance of a figure wearing a lucha libre mask both elicits a large cheer and signals that we are about to be in for something a little different.

The Auckland/Portland trio instantly connect with their audience, easing us into their set with the slow-starting but ultimately charming From The Sun. As the band plays through tracks from their two albums their ability to make perfectly listenable off-pop tunes is verified by their live efforts, but the extended instrumental passages and added tweaks to their songs show the band have the prowess to move far beyond the tight psych of their records. This culminates in the Bonzo-style drum solo from Riley Geare during How Can You Luv Me. It goes down a treat, the crowd probably more appreciative of his enthusiasm than his rock solid technique. Frontman Ruban Neilson is also in scintillating form, despite stopping one song to tell us he is “too fucked up” to play a particularly technical guitar passage. However, for the most part, his guitar playing is the focal point (ably supported by the quick fingered bass of Jake Portrait), and the raw soul of his voice on So Good At Being In Trouble is perhaps the set highlight.

When a couple of new Melburnian friends ask if locals get moving during gigs, their question is answered pretty quickly by the mosh that forms with the appearance of Wavves on stage. Creative leader Nathan Williams slots pretty comfortably into the side of the stage in his Thrasher hoodie, while his Flying-V wielding buddy Stephen Pope stands in the centre looking like he belongs on the Sunset Strip circa '86. With a few albums worth of material to lean on, they mix it up a little, while all the time keeping up the punk energy that inspires a few in the crowd to knock out the three-chord tunes on air guitar. Their set and crowd reaction really intensifies with the early showing of King Of The Beach. The sheer singalong quality of Demon To Lean On draws the biggest reaction of the night and the rawness prevalent in their live sound gives an edge to the other radio-ready tracks from their latest album Afraid Of Heights. They also manage to sneak an impressive cover of Sonic Youth's 100% into their set. Williams mostly lets the music do the talking but does at one point reference the city's love of sport by asking, “Are you guys missing AFL or national league of rugby tonight?” After thanking James Vinciguerra of Total Control for filling in on drums, the late entry of Post Acid is seen by the crowd as an invite to storm the stage, and the room's energy hits its peak as Williams himself is seen surfing the outstretched arms and squashed heads of his biggest fans.

A more-than-impressive night from two international bands in their finest form, providing the perfect antidote to a bout of Splendour-envy.