Live Review: The Rubens

Tonight's launch for The Rubens' self-titled debut is an intimate affair in a couple of ways. Firstly, it is a relatively exclusive thing; a handful of fans and a barfull of industry, as well as some helpers and relatives to ensure all run smoothly. Secondly, it is intimate because there is a real sense that the gig means something. Kicking off the proceedings is support act Michael Gudinski, Mushroom Records big pin and local music champion. He invites us warmly and with trademark enthusiasm to enjoy what's to come, but there is also a sense of genuine pride as he speaks. Like a father at a 21st, his address is part paternal pride for where his kids have come, but also part relative joy at being able to now stand back and watch where they're about to head.

The actual set to follow is short and sharp, but a fine example of the boys' wares. Starting with Lay It Down, it hits not only for its triple j familiarity, but also because of the balls of the three-four rolling time that means you can't help but sway along (ideally with someone else). And if you're alone, you're left to ponder why. Not quite 'cry me a river', but more 'hey, how you doing?' Damn you, meta-musical bastards. Damn, you wonderful kids.

Happily asking us “to enjoy yourselves, and we will do”, the band moves through some of the best of the rest from the said new baby, including album starter, The Best We've Got, and a keyboard-led sweet ballad, Never The Same. For the simple piano-led mid-set interlude, lead singer Sam Margin happily admits this track is currently his favourite, and while it starts with a bit of a Split Enz Message To My Girl vibe, there is also a distinct Coldplay-ness about it, complete with big reverb, big vocal intervals and the story of a girl who did some damage. Accessible, beautiful and pop in its simple-but-honest glory, like other good Aussie pop that draws on the established and takes it further (Gotye, Sia), it's spunky but not over the top; with swagger, but not with too much. Other highlights include My Gun (the single that apparently got them their recording gig in the States), and of course the driving Don't Ever Want To Be Found. Only complaint? Cliched as it is, it simply isn't long enough.