At 6.30pm there are a few loyal fans leaning on the brick-work outside the Tivoli, waiting for the doors to open. Three guys walk out of the back gates of the venue, turn around, say hi, snap a photo of us and wander off. The three guys are 3/4 of The Whitest Boy Alive. This easy-going attitude and clear interest in the people around them is the Berlin-based quartet’s signature, and is reflected in their quirky, wistful and distinctly European electro-pop.
Inside, local Triple J Unearthed band, Gung Ho kicked off the night, all skinny ties, skinny jeans and brooding urbanism. Their raw, surfer-rock sound had the small crowd bouncing, and aside from an early hiccup when their drum kit needed a replacement kick, Gung Ho were clearly excited to be playing their first gig at the Brisbane music landmark. The boys finished with radio favourite, Twin Rays, full of melodic vocals and wavy guitar.
Mitzi were the next Brisbane support act to get their groove on. Mitzi’s cover of Shooting Love by 80s band Time Bandit is probably better than the original, and epitomises the band’s ability to get a party started. Morning Light is joyful and melodic and All I Heard is like listening to a Californian holiday. The usual crowd anxiety for a support act to finish up and bring on the headliners was nowhere in sight. The soft disco sounds of India were infectious and even unlikely looking fans, still in their suits from work - were dancing and smiling like kids.
Although not a sell-out, by the time The Whitest Boy Alive came on stage, the Tivoli was packed and in this reviewer’s opinion, at its intimate best. The set design consisted of a tapestry of the band’s trademark cartoonish line-drawings, and primary-colour lighting. The band itself had a cosy set up, with singer and guitarist, Erlend Øye, Marcin Oz (bass), Sebastian Maschat (drums) and Daniel Nentwig (synth) all set close to the edge of the stage. The Bergen-based Øye explained that the name of the band comes from the idea of a naïve, shy northern European boy. With his tall, lanky frame, big glasses and Napoleon Dynamite hair, you could be forgiven for thinking that this is a semi-autobiographical reference to the Norwegian Øye as a youth. The band launches into Secret, from their 2009 release Rules, and the crowd is instantly smitten and singing along.
High on the Heels followed, with its instantly recognisable snare intro. The breakdown has the band crouching behind their instruments, with the crowd following suit, until there is a 700-strong crouching, bobbing army, reminiscent of Blister in the Sun being played at a high school dance. Needless to say the climax of the song brought the house down. Timebomb gave the crowd a chance to recover, and was followed by a song from their 2006 album, Dreams. Island showcased the band’s ability to pull on the heartstrings, with its urgent baseline and haunting lyrics of solitude and heartbreak.
Audience participation is the key for Whitest Boy Alive, and their impromptu song about their trip from Melbourne to Brisbane, and a song dedicated to anyone in the audience wearing pink tights, had the crowd eating out of their hands. Fans were then treated by two new songs, the first, reminiscent of early Ben Folds and the second; Bad Conscience was perfect pop - striking a chord with everyone that had ever had a big night out. The set ended with the jazz-influenced love song, Courage.
For the encore, accompanied by two redesigned 80’s synths and sculling cans of Fanta, The Whitest Boy Alive showed the eclectic nature of their Berlin roots by launching into a cover of R Kelly’s Ignition, followed by 90s dance favourite, Show Me Love by Robin S. This band clearly has an absolute ball and no one wanted to leave. If rumours are true and there is a new release from these guys this year, it’s not a moment too soon.
Yvette Abberfield - AAA Backstage
