Live Review: Dan Kelly, Keep On Dancin's

A humble smattering of punters politely welcome the arrival of local four-piece Keep On Dancin's to Black Bear Lodge's intimate setting. Kicking off the balmy evening with the haunting sounds of Your Love Is Mine from last year's debut The End Of Everything is a good choice; bodies immediately get swaying in the right direction and don't stop when lead single Summertime washes over with its hazy bursts of guitar and staid vocals from frontwoman Jacinta Walker. Its shoegazey guitar strums and laidback shuffle beat suggest anything but sunshine, but it's ear-pleasing retro surf rock. They generate a lot of sincere interest in their 45-minute set, deservedly so from the seductive and melancholic allure of Walker's husky vocal, achieving that more authentic reach back to the past on the more upbeat Hewitt Eyes and the slightly creepy low-range vocal harmony with guitarist Yuri Johnson on Elvis. Some slightly pitchy bass and a fairly indiscrete setlist isn't enough to slight these guys and gals in the eyes of those standing before them; they pull off a mesmerising set with aplomb.

After a fairly prompt break Dan Kelly parts the crowd and leaps onstage with guitar in tow to welcome a more swollen gathering. He's eagerly received, especially in the knowledge that he's practically bypassed the rest of the country, bar Canberra oddly enough, to grace this congregation with his presence. Before delving straight into some tunes, he prefaces Drunk On Election Night with the unorthodox way it came to be; his cheeky banter is something that one never tires of. The Landscape Gardener's Dream about loving a 'bogan girl' is an oddly sweet acoustic noodler, as is Ex-Bandito, despite being interrupted by his attempt at a ripping guitar solo encompassing Stairway To Heaven, Wish You Were Here and Sweet Child O' Mine. The banter continues and we discover that The Catholic Leader came into being thanks to years of paying scant attention in church and that Guitar Tech Super Jesus has been Sarah McLeod-approved despite its Superjesus references. He's joined by his keyboardist Seja Vogel on the latter, who fleshes out Kelly's guitar work with an added sonic dimension in the form of some quirky computer beeps. No doubt the most lauded tune is saved until nearly last, the cheeky Bindi Irwin Apocalypse Jam, and he opts for a shredding Australian anthem solo in the mid-section. Dan Kelly's Dream closes the set and the extended spaced-out jam session has him down on the floor.

With that, the humble gent gives his thanks and is absorbed into a pretty satisfied crowd that also includes his famous uncle. In the midst of all this to-ing and fro-ing from thoughtful guitar ditties to zany rock though are Kelly's voice and guitar chops; both are in fine form as always and despite his endearing crowd engagement, neither are neglected. But if all else had failed, flogging Dan Kelly-emblazoned swimming caps and tea towels at the merch desk probably would have achieved this anyway.