Review of 30 Odd Foot of Grunts at The Metro
Source: Drum Media
October 19, 2001
By Matt Dickson
This eclectic bill began incongruously enough, comedian Russell Gilbert warming up the early evening crowd with a selection of his better routines. It soon became obvious why though; this was to be a determinedly Australian nights entertainment. With most of his jokes aimed at himself, Gilbert set the tone appropriately, foreshadowing Russell Crowe's anti-style later in the night. Gilbert returned at intervals to sprulk for his mate, but it turned out TOFOG was its own best advertisement, a train-like rush through the roots-rock bushscape, in which the quiet bits are only there to make the loud bits seem louder. Well, that's not quite all there is to it, but you get the picture. The crowd loved it, and so did I.
Danielle Spencer played an acoustic selection of songs from her debut album, hard work in a cavernous Metro still filling slowly. Singing and playing electric piano, she was accompanied by cello, voice and acoustic guitar, in a short but effective set. The essential catchiness of her songs (in spite of their somewhat introverted nature) was undeniable. At times Laurie Andersonesque, at others echoing Tori Amos, but these were worthy comparisons and Spencer should be pleased with her effort.
She got the gig, we assume, on the strength of her longstanding friendship with Russell Crowe as much as the quality of her work. Evidence of Crowe's steadfast refusal to be sucked into the Hollywood round of bullshit and PR opportunities. They first worked together on the 1990 film "The Crossing" and she was still at his side at this year's Oscars. It's an endearing trait of Crowe's, this ordinariness, of which TOFOG is perhaps the best example of all. A defiantly good-time pub-rock style of rootsy band that works hard at a no-frills job. If Crowe wasn't a media face, it'd still be a bloody good band. On the strength of tonight's performance it would have blown away about 90% of this year's Byron Bay Blues & Roots festival bands. I get the feeling that would please Crowe as much as winning an Oscar.
Before the Grunts, we were treated to Burnum Burnum, an Aboriginal duo of didj and dancer, performing one traditional number. Dangerous ground perhaps. But no tokenism here. Just an intensely Australian experience that sat well with the honest approach to the rest of the night's entertainment. A gesture of respect, not dissimilar to Crowe's wearing of his grandfather's MBE (he was a pioneering filmmaker in NZ) at the Oscars.
This was TOFOG's home town showcase. Was there a touch of nerves in Crowe as he came on for the opening numbers? Perhaps. He did it though, thrusting himself straight into the spotlight, appearing without his guitar for The Photograph Kills. With just his voice to rely on, it still worked. Tonnes of charisma quickly swept away any doubts he can cut it. The crowd responded enthusiastically, and the song set never dropped below that big opening. In fact it got stronger and stronger, Crowe's disheveled front man (with a taste for ciggies and beer) finding a perfect foil in the dapper cool of guitarist Dean Cochran, something of a master of roots styles who nonetheless obviously enjoys guitar overdrive and feedback.
Trumpeter Stuart Kirwan added a glorious Hunters & Collectors feel; and when all three guitars kicked in together the locomotive power of the unit was spectacular. Well-drilled and hard working (just off a US tour helps) there was still a nonchalance that took away any preciousness. Just good songs from across the band's longish history (all the way from Crowe and Cochran busking together in the late eighties) to a new single about to be released. Highlights? White Circles, Wendy, What You Want Me To Forget, and The Legend of Barry Kable. Insightful songs about fairly average people struggling to get by. The closer, a long and deconstructed version of Folsom Prison Blues, dedicated to Johnny Cash, finished it with a bang.
At the end of the day, even at $40 [AUST] a pop, you would have to be a miserable bugger to not have got a kick out of this.
