Bernard Fanning from Powderfinger and Paul Dempsey from Something For Kate have with some exceptions, both had similar career trajectories, having emerged in the early 90s during Triple J’s heyday of alternative music and then onto “mainstream” radio success. Both have managed to maintain longevity unlike many of their long-forgotten contemporaries and this collaboration harks back to and is a homage to their forebears and influences in the preceding decade of the 80s. Their debut joint album, The Deluge with its prevalence of synth-driven new romanticism is a move away from their predominantly rock’n’roll leanings and demonstrates their influences more than ever before although Dempsey’s solo work has often represented his formative influences to a degree.
Fanning has reportedly spoken about his wanting to be in a band again and having missed the collaborative process he had fronting Powderfinger and arguably he may be getting more out of this than Dempsey who has continued to be in Something For Kate apart from occasional side endeavours. This project allows Dempsey to break free from the constraints of what Something For Kate is perceived to be by their fans and a chance to further experiment with a less guitar-driven sound. This material has a sheen and polish, unlike the grittiness of early Powderfinger and Fanning’s latter gentler solo output.
The opening synth overture leads into the album’s title and opening track The Deluge. Early on there is a great sense of joy from the band and audience alike. Fanning comments that he is feeling a degree of déjà vu even though it is only their third show after last weekend’s debut performances. The opening portion of the set is a selection of five songs from the album. Early highlights are Disconnect which is wonderful and sounds like it was inspired by Bruce Springsteen and the E- Street band. The only thing missing was the sax on the recorded version. I also loved the driving intensity of Past Tomorrow and I was already so impressed with them at this stage that I was wondering when I would be able to see them again. I am hoping they can get back here and at least play a festival.
They take a break from the album tracks and play two solo songs (Dempsey’s Ramona Was A Waitress and Bernard’s Wish You Well), these songs are effectively covers and Dempsey refers to them as such. Born Expecting is next with groovy delayed guitars and shared vocals. It is clear to me that Fanning and Dempsey have pulled together something uniquely original but familiar with this new project that still captures the best of them. After a perfect cover version of Tears for Fears Everybody Wants to Rule the World they play Never Pass This Way Again which is my favourite from their new album.
Next up are two “covers” of their band’s biggest hits, Monsters from SFK and Pick You Up from Powderfinger. Here Paul and Bernard share vocals on these two incredible songs. The set finishes with the excellent Dunning Kruger National Park until they come back out for the encore starting with King of Nowhere. I suspect that due to the quirky nature of the lyrics Paul wrote Dunning Kruger National Park where King of Nowhere was more in in the vein of Bernards solo work, hence, I suspect his writing hand on that. Then we get the most appropriate cover of the night with a kick-ass version of the Queen/Bowie hit Under Pressure where the shared male vocal parts of the original were expertly duplicated in the version tonight. This cover performed by Bernard and Paul remotely during COVID-19 and then together normally in concert once restrictions were lifted was the nucleus of this current project. I must mention the immaculate band. The two keyboard players flanked the stage and the drummer and bass player were solid. The last song of the night was Eyes Wide Open and was a brilliant end to the night.
Earlier in the night the support act was Merpire and I have seen her many times supporting interstate acts here in Adelaide. Merpire is the moniker of Rhiannon Atkinson-Howatt from Melbourne. She first came to my attention with her excellent album from 2021 Simulation Ride which is a brilliant album and tonight she did five excellent songs from it as well as three magnificent unreleased songs and an amazing cover of Caroline Polachek’s So Hot Your Hurting My Feelings. My favourites were Village and Dinosaur from her album and Canine which is unreleased. Every time I see her I wish she had a full band with her as it would help drown out some of the rude crowd that were talking during her performance. I love her vocals and all three of the new songs were impressive and can not wait to hear them when released.
Live Review By Richard De Pizzol