Live Review: Lamb

Ah, a muggy Sunday night in Adelaide, the exact kind of evening most locals seem to prefer to spend vegetating in front of reality television than at a live gig. Imagine the surprise then when this reviewer arrived at the familiar Fowler’s Live complex to find it absolutely humming with folks excited for Lamb’s first ever Adelaide gig!

It’s a surprise compounded by the fact that Lamb has never enjoyed a particularly large profile outside of the UK. Our national yoof broadcaster supported some of the duo’s earlier singles, while the inspired video for 1999’s B Line was a Rage staple that year. But Lamb, perhaps unjustly, has been somewhat overshadowed by the likes of Portishead and Massive Attack, lumped together under the vague banner of trip-hop as they are. For the most part, tonight’s audience seemed made up of electronica fans hoping to hear the pummelling drum’n’bass their younger selves were partying to nearly 20 years ago.

Lamb did not disappoint. Opening with In Binary and We Fall In Love from their latest record, producer Andrew Barlow was a singlet-clad, fist-pumping, crowd-whooping ball of energy. His stage aesthetic seemed certifiably incongruent to that of the person to his immediate left, who essentially amounts to Lamb’s trump card – Lou Rhodes. Hers is an undeniable, radiant presence, all measuredness, class, humility and quiet focus. Rhodes shifts effortlessly from blissed-out ethereality to an almost Kitt-esque sinisterness (but always tempered with melancholy), and it’s her voice that lifts Lamb out of the ordinary, whether they’re delivering a Shakespearean-grade ballad or an enormous drum‘n’bass drop.

And bass figures mighty heavily (pun intended) in Lamb’s sound. With Barlow’s array of synths warbling away under the watchful eye of Ableton, and touring member Jon Thorne’s imposing upright bass, the Fowler’s Live sound system delivered teeth-rattling sub frequencies at every turn. The only other instruments on stage were a small drum kit used for the encore, and of course, Rhodes’ truly wonderful voice.

The new record, Backspace Unwind, was well represented, and singles like B Line were slightly rejigged for the stage. Gabriel, from the 2001 album, What Sound, was another crowd favourite. Lamb’s eager audience remained vocal and appreciative the entire set.

After a brief departure, the group returned for a substantial encore that included the 1997 classic, Górecki, and, after profusely thanking the crowd, Lamb graciously emerged to sign records, T-shirts and copies Rhodes’ delightful children’s book, The Phlunk(!). Their show was inspired and unique, and I’d wager that everyone went home completely satisfied.