Gang Of Four

Through a string of Sidewave shows, Gang Of Four - one of UK's most influential late 70s seminal rock bands - would make their Australian stage debut. Predictably, their hotly-anticipated tour would prove immensely popular, their only Melbourne date securing a sold-out crowd at the Corner Hotel.

First up were Rebuilding The Rights Of Statues - apparently Re-TROS for short - a post-punk trio direct from China. Bearing a gritty, yet controlled intensity, the band appear completely and utterly consumed by their craft, demonstrating a fierce commitment to a sublime brand of precision. Front man Hua Dong helped kick off their set in grandiose fashion, his flamboyant vocals soaring from the stage and ensuring a definitive presence. It seems when his delivery reverts to a more accessible normality that he’s somehow less captivating. Nevertheless, the trio put on a generally entertaining set showing some definite shades of post-punk revival heydays. Their songs display a strictness unto their origins, a methodical blast of rock maintained and soon familiar enough to audiences without breaching a frustrating monotony. It proved hardly revolutionary, but was great fun and Re-TROS deserve props for their admirable enthusiasm, the trio screaming, chanting and bleating their way through an energised, super-charged appearance. Recommended.

Bris-vegas band I Heart Hiroshima were up next to provide an exercise in frenetic rock and roll. One of the most immediate points of intrigue for any punter must surely be their lack of a bassist. It’s a curious move on their part and it’s difficult to say whether it pays off. Though it imbues their approach with a unique, X-factor quality, their brand of rock never goes for the kill. It seemed at odds with their set on this particular night, too, their tact seemingly more serious and emotionally tempered than Re-TROS’, as if to demand a sound bigger and more imposing. Unfortunately, the building Corner crowd weren’t buying into it, only furthering the distinct beige nature of a set that lingered on far longer than it needed to. There's a little sugar, a little spice, but something else needs to help carry the weight. I Heart Hiroshima need to find another level or another dimension to ascend to, for, as they are, they’re just not that enthralling.

Following I Heart Hiroshima’s appearance, the thumping of jungle drums and the elation of tribal chanting would ensue, prompting Gang Of Four’s emergence from the side of stage. As first impressions go, the band could not have had it better. As a unit, they possess an inexplicable cool, one as disarming as it is immediately apparent. It seemed that only once their performance got underway that their image proved perhaps less bulletproof than first assumed. This sudden shift can best be attributed to front man Jon King, who won’t be scoring any accolade for his dancing chops anytime soon. A man possessed with wide-eyed enthusiasm, he cuts an embarrassing figure equal only to our own Peter Garrett. It was bewildering how one man could appear so awesome one moment and so utterly silly the next. The flip-side was, of course, that King was undoubtedly in the zone and eager to put on a show, his face lit as if to depict a tale of terror by torch-light. Sure enough, his eager behaviour rubbed off on the crowd, the venue enjoying every moment of the gig.

Gang Of Four’s brand of rock was every bit as impassioned and heavy-handed as you would expect from the Leeds group, the band establishing themselves as by far the most emphatic, convincing act of the evening. Not only that, they were true showman, stalwarts of the post-punk game keen to strut their stuff with flare. They were best in their more bold, chaotic moments in which every element roared in unison, near-flawless musicianship on display for all to see. It was only when the band indulged in anything less than a high-octane rock approach that their performance suffered, with lame and lifeless vocals ensuing in the absence of King’s terrific snarl. Fortunately, such interludes were few and far between and the seasoned rockers rewarded Australia for their patience over the years with a loud post-punk masterclass.

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