PORCUPINE TREE - Enmore Theatre 26/04/08

Porcupine Tree are special; it's hard to put a finger on what exactly makes them so, but the first time you hear them you know it's true. PT had already been flying expertly under my radar for nigh on a decade by the time I stumbled across them in an interview with Opeth's Mikael Akerfeldt in which he raved about his then-producer's band.

Slowly, but surely I have collected their works and enjoyed each for its unique character and flavour; each a testament to individuality as well as a part of a greater whole. I greeted the announcement of their first ever Australian tour with elation, but in addition came a niggling concern that the pedestal I had placed them upon may possibly have been set too high, therefore inviting disappointment. I needn't have worried.

With little fanfare the 5 musicians took the stage in front of a crowd containing more different types of people than I have seen at one show in a long time and proceeded to launch into the powerful opening strains of the title track from their latest album 'Fear Of A Blank Planet'; the song's video played on a screen behind the band and beautifully highlighted the tense alienation of the song's lyrics. The screen was used to great effect throughout the gig but not in such a way as to detract from the music - it wasn't always video images, sometimes it was just used to accentuate the rich muted lighting employed to great effect throughout the set.

From this point the band proceeded to more than do justice to every song selected from their wealth of material. Mainman Steven Wilson stated that unfortunately they wouldn't be able to do everyone's favourite, though I was fortunate in that quite a few of mine were aired, including "The Sound of Muzak", "Hatesong" and "Lazarus". Wilson has a gentle intensity about him that quietly commands attention; his vocals can be lilting or powerful but are always captivating and his musicianship was top notch. In fact the entire band must be commended for the technicality of their performance. I was particularly interested in keyboardist Richard Barbieri being as I am a fan of his old band Japan; everyone however put in an exemplary performance.

Wilson, padding about in bare feet moved about between his cohorts, providing the odd nod or cue here and there, but knowing that they were more than capable of handling themselves one often saw him caught up in his own performance which sometimes included thrashing both his guitar and head about madly... without missing a note of course. Thankfully there was enough subtle variation on some numbers that, for all the technical brilliance displayed, it never felt like you were listening to the CD, nor did it ever descend into that "for muso's only" type of wank-fest that gigs by bands with something of a prog bent often can; PT are far too much about the songs and we were treated to 15 gems.

After being told that the band had no idea they had so many fans in this country we were assured that the wait wouldn't be as long next time, though any wait at all could feel like forever as this was definitely one of the gigs of the year.

Set list (thanks to Kel Skye):

1. Fear Of A Blank Planet
2. What Happens Now?
3. The Sound Of Muzak
4. Lazarus
5. Anesthetize
6. Open Car
7. Dark Matter
8. Hatesong
9. A Smart Kid
10. Blackest Eyes
11. Way Out Of Here
12. Sleep Together
----------------
13. Mother and Child Divided
14. Trains
15. Halo

JULIETTE AND THE LICKS - The Forum 25/04/08

The crossover from actor to singer/musician is one of the toughest in the twin arenas of art and entertainment; one only has to look at the mixed fortunes of, eg: Billy Bob Thornton the recording artist to see that the public's attitude to this move can be tricky to predict. This brings us to Juliette Lewis: always one to capture this hack's attention with her tough yet vulnerable character portrayals and quirky sex appeal, I was curious the moment I heard she'd put movies on the back burner to concentrate on her rock 'n' roll band.

I was fearful that she may be one to fall into the aforementioned trap, but having heard her singing voice in a couple of movies I thought she had a shot and I was rooting for her before I even heard a note. Their 'Four On The Floor' album is - as its title suggests - a straight-up driving rock 'n' roll record: a little punky here, a bit melodic there - but on stage the Licks somehow transcend such compartmentalisation, and what's more it seems almost effortless - they are just that cool.

This is a fantastic band and I'm intentionally referring the band as a unit here (as opposed to "Juliette & others") as they truly are a unit - amazing considering there have been a few lineup shuffles to deal with during their lifespan. The band do however know who the star of the show is and they let her go and just get on with it. The way she emotes in the softer sections and the way the screws loosen in the fired-up or angry moments are clues as to Juliette's "day-job" (as she put it) and while she interacts with looks and gestures with each of her bandmates, she does the same with members of the crowd - from the front to the back the room is in her hand.

"Hot Kiss", "Get Up", "Pray For The Band Latoya", "Inside The Cage" and personal favourite "Purgatory Blues" are all highlights along with an energised cover of AC/DC's "Dirty Deeds Done Dirt Cheap" (a few fudged lyrics but who cares..?) and show closer "You're Speaking My Language" featuring an extended middle section during which the whole band swapped instruments... without stopping!

They said they'd be back in a year ("What's a year?") So if you missed them this time don't make the same mistake then.

HENRY ROLLINS (Spoken Word) - York Theatre, Seymour Centre 24/04/08

Henry Rollins can tell a story. Whether humorous or serious, editorial or anecdotal he manages to hold your attention, which is just as well considering he's generally on stage for up to 3 hours.

There is a passion in his delivery which has matured with age so that now the ever-present anger is tempered with more humour than in previous years. Much of that humour is of the self-deprecating kind and Rollins is capable of putting laughter tears in one's eyes when describing some of his "not-so-cool" lifestyle aspects. At other times his stories of travel to various parts of the world (on this occasion Iran, Pakistan and Syria) seem not just "cool" but downright enviable.

For someone who has done and seen so much in his life and who has - through his music, books and performances - given so much of himself back, Rollins could easily come off as having some kind of superiority complex but to the contrary, he has always maintained a down-to-earth air. He has never appeared to develop that self-important demeanour that has befallen so many others and as a result he remains likeable even when espousing an opinion contrary to one's own.

Always a pleasure.