Shows/1997-03-18

Fan Recaps and Comments:

A show review by Tyrone Noonan & Amanda Tye
Time Off, Mar. 26, 1997:

A huge crowd with vast demographic qualities turned out to catch a glimpse of these endearing looney tune popsters. The crowd seemed to represent "students throughout the ages", with the ardent fans hoping to recapture the good-time vibe of the 1995 "John Henry" tour. The show kicked off with an entertaining sales pitch, a mix of cheesy cabaret and showtime spruiking - complete with choreographed voice over and light show - which promised to "leave your teeth chattering for more!"

But when the guys eventually arrived onstage, there was initial doubt as to whether this was going to be achieved. From the first chord struck, it was evident there were technical problems with the mix. Even though the first number was performed with seemingly no front of house sound, the "Johns" soldiered through with some light hearted repartee of the "Can you hear us?" variety. With only drums, bass, guitar and keyboards, the Giants kicked into a mix of old and new repertoire which was well received by the diehard TMBG fans.

With the huge sound glitches (deafening feedback) out of the way, and the only remaining technical problem being the fact that the vocals and keyboard were a stretch for the ear, the pace picked up, and the guys relaxed into a night of pure fun.

There was an eagerly awaited repeat of the 1995 conga line - after all, "Rock and history go together" - a puppet show version of 'Exquisite Dead Guy', and promises of a "Confetti Cannon" (but sadly, another technical problem left us wondering exactly what that was all about). By this later stage in the night, the crowd had put aside the issue of the sound and seemed content to enjoy the evening, supporting the guys by bopping and singing along (although I have always marvelled at the fact that some punters find it appropriate to mosh at a TMBG gig!).

Of course the evening would not have been complete without a rendition of 'Istanbul' - and even though they hung out 'til the final (and fourth) encore to give it to us, it was worth the wait. Overall, this was a top gig, and left the true TMBG fans teeth chattering until the next time!

Also at the gig was closet TMBG fan and head of music at QUT's Academy of the Arts, Associate Professor Andy Arthurs (now there's varied demographic for you!). He had this comment to make:

"They are a witty band that rely on hearing and responding to the content of their words interacting with their quirky instrumentation. This was lost at The Roxy because, for whatever reason, the PA sound did not respond to these needs. It was a "rock and roll mix" heavy on bass and drums and guitar, downplaying the vocals, keyboard and other musical moments. This could still have passed as adequate had the engineer shown any sign that he had ever heard any of the music before."

Show review by Mike O'Toole
Rave Magazine, Mar. 26, 1997:

A few years ago in Rolling Stone, They Might Be Giant's album Flood was quickly dismissed as lacking substance. Years later it still strikes me as one of the more moronic things ever to be said of the band - didn't they hear Racist Friend? Or think at all about their deliberate over-use of music cliche? Yet, much as it pains me to say, it's almost time to admit the criticism has found its time and place.

This wasn't TMBG of previous encounters. Once minimalism was the key to their live gig as much as their records. Two guys sat on stools, fiddled with guitar and sampler, and played a little music. If you got it, you got it. And if you didn't, well, there was always the rock band up the road.

This time around the band has taken a little too much of the rock and roll animal to heart. As in pretty much any four piece the guitar worship was there. There was even a prop in the form of a reluctant glitter cannon ("We travel a lot internationally, and it's very difficult to explain a cannon"). Its failure to fire didn't really influence the crowd much; as far as blunt symbolism goes, a howitzer firing confetti is as blatant as cock-rock will probably ever get, and the punters took it on board with good humour. After all, this was parody, right?

It was all so smooth. The rough edges and the trademark quirks were fleshed out by the larger band. In recognition of their changed direction the bulk of the tracks were more from the user-friendly later albums, with only the occasional rhythmically infused selection from earlier albums. They're still pretty funny; but it's more than sad to see the innovative and darkly humorous band of old come to resemble any old four piece. We've got plenty of them, but we don't have that many originators.