BRMC making sure you don't forget them...

With the drought appearing to break, expectations are high in Brisbane tonight.

Courtesy of some local airplay and some rather special myspace tunes, The Black Ryder takes up the early duties for Black Rebel Motocycle Club. Filling such a role on a wet school night doesn’t exactly draw them in, yet most of the three quarter capacity crowd seemed focussed on the 'Australian' five piece as they got underway.

Opening in laid back fashion with a tripped-out Dandy's/BJM/Mazzy Star feel, they continue in that vein, leaving the feeling that there is another gear in there to step up to. While there is an abundance of psychodelic/shoe-gaze undertones in evidence, it never quite hits the mark.

Don't be dismayed; it doesn't miss by much. This is an exquisite blend of layered, textured guitars, occasional keys and solid yet mesmerising rhythm section to match. Add to that just enough fuzz and wah to keep any old hippy or new wave trippers happy and...but something just seemed to lack.

The shortness of the set? Maybe an abundance of over-fuelled punters and the lack of hallucinogenics? Regardless, 'Sweet Come Down ' and 'Rise' stood out in a short, low key set that felt as if it really wanted to kick out.

If you get the chance, sit back and absorb a full set from The Black Ryder: I doubt you'll be disappointed.

Somewhat ironically, the PA blares out Ride's Dreams Burn Down as they leave the stage...ahh...what could’ve been.

What seems to be an eternity passes before BRMC saunter onto the stage.

Not being in town for four years hasn’t really hurt the BRMC’s credibility as fans scratch for primary position, but little do the punters know that they are there for the next two and a half odd hours.

Opening with 'Berlin' and 'Weapon of Choice' from 2007 release, Baby 81, all sets off in fine stride. 'Windows' and 'All You Do Is Talk' get an airing from the same album with 'Stop' and 'Red Eyes and Tears' from earlier offerings complimenting the upbeat tempo. Smiles all round.

At around the sixty-minute mark, tracks from Howl took over in acoustic mode. Like it or not, it was to be expected as bassist Been had alluded to a heavy emphasis of the aldum but as he and Peter Hayes took turns, things started to get a little tiring.

Hayes explains that they didn’t know for sure if or when they would be back, with the full run through of material being some sort of olive branch. Quantity versus quality started to ring through many minds, yet there were as many beaming from ear to ear. Unfortunately, Hayes’ special gift of a marathon version of Dylan’s Visions of Johanna, was the straw that broke the camels back. Surely it had to end. Thankfully, it did.

With the return of the band whole, they eased back in with 'Killing the Light' before completely cutting loose with section closer 'American X'.

Encore time and even though the crowd was begging for 'Six Barrel Shotgun' (after being asked what they wanted to hear) it fell on deaf ears, somehow. What was offered up was in the style and intensity that one expects from BRMC and was arguably the highlight of the night. With the best saved for last, massive interpretations of 'Took Out a Loan' and 'Spread Your Love' were delivered with a thunderous 'White Palms' and the obligatory 'Punk Song' being the highlights.

With an hour past midnight showing up on the time piece as the throng headed home, one could only reflect on how great this show could have been sans ‘The Howl Session’

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