01-08-2001 Revolver

Nothing could keep me away from the unplugged and original repertoire on offer this Wednesday night. My ears have an incurable addiction; they've heard the seductive sounds and hisses from the Club Acoustica surrounds and have become mollified and sensitised, making me an everlasting supporter.

This was the celebration of Australian Music Week and to mark the event, the performances were webcast live around the world. As soon as Dominique Fraissard's exquisite singing voice was in full swing, his soul came to life illuminating everything and everyone around him. Opting to stay politically neutral, mostly new songs were revealed such as 'The Wettest Year', a tranquil piece showing his legato guitar picking style and sensitive semi-tonal sweeps holding all of our attention.

'Love Or Work Or Wounds', about observing people's lives in domestic migration, brewed glib sonic waves with a harmonious, whistling flute from Emanuel twirling to and fro. A personal favourite of mine, 'The People Sea', telling the tail of a personal relationship, hit the sweet spot with tender violin drones from Lara.

This was the first time I had seen Hydro unplugged and undressed. The boys looked very relaxed and at ease reeling out pert rhythmic cadences on 'Tin Heart', beginning with George's djembe beats and the spiralling waltz of Ode To Tears heralding Jeremy's syrupy vocal tone and choice of layered guitar chords. Footfall glistened with a slow, heart-rending feel with bottomless bass notes from Wally. These pop merchants displayed plenty of interesting changes working them into their simple, flavoursome songs provoking many emotional excursions - always enjoyable to watch, the crowd thought so as well.

My eyes became a tad heavier as former member of The Clouds, Jodi Phillis, had her turn in delighting us with her haunting, high-pitched range exuding such breathing control over each effortless word, dressed in warmth and beauty. 'For The First Time', with its easy going drift, saw smouldering harmonies from Jeremy on guitar and Paul on bass. The songs came with many dispositions and experiences such as 'What The Fuck' and 'Ride The Darkness', releasing impactful, ghostly guitar and vocal tones. She can sing her way out of any daring situation.

Then it was time for the angry 'bitch rock' of Diana Ah Naid, with the staccato guitar rhythm of 'I Go Off'; and she did with an ample amount of attitude and squealing grunt. As the tunes were rolled out, the mellow Basement audience caught a glimpse of the soft and passive side to Ah Naid with 'I Don't Think I'm Pregnant Any More' for her eight year old son and 'Love Song For A Girl', illustrating a tad more maturity and flair.

The last act was Airbag, with a singer that assimilated the vocals and aesthetics of Bono (in his Rattle And Hum days), the voice of Bob Dylan, yet with a rich quality all of his own. Their sound floated along tenderly and elegantly with a resonant upright bass giving the songs a soothing character. The singer, however, needed a bit more of his own identity to complete their musical style - overall they sat well as a band. What can I say - a moving and spine-chilling adventure into the vault of heaven.