Live Review: The Dandy Warhols, The New Pollution

There’s a groovy love thing that’s transcending the world from Perth all the way to Portland in the US of A, and it’s connected our own The New Pollution to tonight’s hosts in very cozy fug. Noticeably chuffed to be showing off cuts from their recently released Solar Power album (produced and curated by and generally shown much love from The Dandys) to their home crowd, there was great satisfaction to be had, bummed only occasionally by the spectre of static in the mix.

Sporting luscious braids that created a follicular suspension bridge between Willy Nelson and Haim, and armed with lips that seduce from 100 paces, it’s impossible to imagine The Dandy Warhols with anyone other than Courtney Taylor-Taylor at the fore. The gouched-out pace of Mohammed was swiftly set aside for a stripped and scuzzed We Used To Be Friends and Not If You Were The Last Junkie On Earth (the first of several massive anthems ebulliently trollied out). Swinging from Lou Reed-ish growls to hedonistic howls, it took Taylor-Taylor a few songs, but Shakin’ finally loosened up his rigid hips. There was no stopping him thereafter. While other bands may indulge in extended riffing or solos, the harmonised drones that permeated the likes of Good Morning or I Love You could have been carried for triple their time and everyone would have nodded along happily. Yet for a band whose live reputation has divided some in recent years, this was The Dandys perfectly nailing their art, right down to Zia McCabe’s shakers being perfectly heard during You Were The Last High. There was no posturing, no pretension and barely any banter, yet far from being alienating in their performance, Taylor-Taylor, McCabe, Peter Holmström (guitars) and Brent DeBoer (drums) simply skinned up and delivered. A higher substance may nudge its influence almost too obviously into so many Dandys songs, but who could deny their addictive qualities?

The whole band signs off with Boys Better before Taylor-Taylor sits alone, leading the Astor into an acoustic Every Day Should Be A Holiday, adding wistful reflection to the party anthem. Shortly after across the street, keyboardist Zia McCabe (as DJ Rescue) took to the decks at The Loft’s new home, Defectors. Disarmingly playful, taking in everything from Charleston beats to Detroit Grand Pubahs’ Sandwiches, McCabe’s set was the last highlight of the night.