Live Review: The Getaway Plan, Gatherer, Freeds

With the lengthy absence the headline outfit has in recent times endured in order to commit to the recording of their highly anticipated third album, it was borderline disappointing to see a deserted Fowler’s on entry. Had the once favourite progressive pop-rock quartet been forgotten? Time will tell, but there was certainly a slight sense of trepidation in the air, which was concerning.

A rather peculiar selection for the opening act, an MC by the name of Freeds undertook the role to just a handful of people. Joined by a masked drummer and a backing track, the minimalistic approach left the audience with an understandable minimalistic reaction for the most part. There’s no denying the talent Freeds exhibits — his rhymes and delivery are extremely well-constructed, somewhat reminiscent of London rapper Jehst combined with the pop sensibilities of clear influences 360 or Illy. However, the end of the performance suggested that the MC was probably not the best act to open the event. If a DJ was to be present also, it would certainly add more intrigue to the showcase. Sometimes less is more, but that wasn’t the case on this particular evening.

Former New Zealand now Melbourne-based Gatherer had the honour of playing main support for the entire tour and instantly made their presence felt. Combining an array of influences to create a unique sound that was, in a word, astonishing, it’s criminal that the four-piece aren’t selling out smaller intimate venues of their own accord yet. For the unknown, the experimental rock formula Gatherer incorporate includes the brashness of KEN Mode, the driving rock of Queens Of The Stone Age, the intricate and progressive pop sensibilities of Muse and an unmatched passion for their craft. With an excellent tumble supplied by vocalist/bassist Samuel K Sproull, it was impossible to take one’s eyes off Gatherer and their actively theatric and extraordinary performance. Sensational Creation was a highlight and remarkable, but if the mission was to inspire and impress the thankfully growing audience, Gatherer succeeded. 

At this point it’s safe to say that despite their absence, The Getaway Plan had been far from forgotten. It was now difficult to move around the main room of Fowler’s, which was an elating prospect thankfully. Opening with Sleep Spindles, the quartet made their adored presence felt, especially in the case of vocalist Matthew Wright whose angelic tone soared effortlessly. Phantoms carried on in this captivating atmosphere and clearly showcased the band’s excitement for their music still, even after years in the industry and a hiatus. A rarely performed older song, If The Suspense Doesn’t Kill Us, Something Else Will was appreciatively included and guitarist Clint Owen Ellis had his hypnotic musicianship and stage moves in full flight. On the other end of the spectrum, TGP then introduced a brand new song that was some of their harshest and heaviest material in years, an exciting prospect, but to awaken the eagerness in the crowd again, the quartet delivered New Medicine (Stay With Me) and Shadows. Battleships, another new song, which has the ability to be THE song for an upcoming action/thriller film with its undeniable excitement, was introduced. Highlight tracks from here included A Lover’s Complaint, Red Flag, Where The City Meets The Sea and encore, Strings, encouraged attendees to jump and even crowd-surf. So it would seem that The Getaway Plan still have that national admiration and ability to “wow” and bring together an abundance of alternative pop rock aficionados. What’s more important now, though? Please release Dark Horses already. It needs to sprint out of the gates pronto.