Live Review: The Smith Street Band, Joyce Manor, Ceres, Allison Weiss

You know when an artist is so talented that within moments of the beginning of their performance they elevate the attendance, attention and energy of an entire venue? Los Angeles’ Allison Weiss is exactly of that calibre.

The slow-burning build of opener The Sound piqued the interest of the growing audience, but when the infectious Who We Are swayed its way to the attention of Adelaide, the crowd was captivated. Golden Coast, Good Way, new song Runaway, Motorbike (a charming Disney-summer pop-rock song reminiscent of Jimmy Eat World playing a song for Sesame Street) and I Was An Island were clear standouts, and the attendees were relishing the unmistakable genius with dance and applause. This indie-pop songstress sounds as remarkable live as recorded, and a return headline tour is more than a necessity.

It was almost difficult to recognise Melbourne's Ceres as they attacked the stage; this was a new band and their improvement live is monumental. The crowd reaction was immense to opener Laundry Echo and the response maintained its vivacity throughout. Roll Ur Eyes, Happy In Your Head, ’91, Your House, Stretch Your Skin (which featured Wil Wagner, who also shared a kiss with frontman Tom Lanyon), then followed the heaviest songs in the four-piece’s repertoire Choke and I Feel Fine, I Feel Sick; this was a performance of international calibre by the emotional alt-rock quartet, and, with the momentum they currently uphold, it's just a matter of time until they are headlining shows of this size.

California's Joyce Manor had the prestigious role of main support for this tour, and it was quickly established that they probably were not the best choice for it. Not especially suited to a venue of this size, the entire set seemed challenging to both the band and audience alike. Heart Tattoo was certainly rousing and catchy as a standout, as were Fake I.D., Catalina Fight Song, End Of The Summer, Beach Community, Last You Heard Of Me and Constant Headache — but it seemed to fall short of the mark left by the previous bands.

Space had become very limited at Thebarton Theatre and the anticipation was more than substantial — a sing-along to Dexys Midnight Runners' Come On Eileen was borderline deafening. Then the curtains were drawn, revealing The Smith Street Band as a six-piece (additional acoustic guitar and synth players who also provided angelic backing vocals) and an ecstatic Wil Wagner and his bandmates launched into Suffer. Understandably, chaos ensued; the uncountable bodies were in constant motion, creating a churning ocean of fans screaming their favourite lyrics back at the band.

Song For You, More Scared Of You Than You Are Of Me, I Don't Wanna Die Anymore, Young Drunk, Run Into The World, Passiona, Death To The Lads and Shine were absolutely monstrous, and with double the ticket sales in comparison to the Melbourne band’s last Adelaide visit, the adoration was blatantly obvious on a grand scale.

Honestly, it's a Cinderella story how TSSB have ascended into a global favourite folk-punk outfit, and it is exceptionally deserved. Wagner sings in an original tone that might not be to everyone’s liking, but he sings with his entire heart and honesty. He is also a true gentleman of the highest distinction, and we are lucky the band calls Australia home.