"We're Silverchair and we're from the United States of Australia!" proclaims frontman Daniel Johns towards the culmination of the show. Often derided for a egotistical stage presence, Johns has had his fair amount of demons since shooting to worldwide acclaim at the age of 15 upon the release of the New South Wale's trio debut, Frogstomp. His battles with anorexia and drug addiction where chronicled respectively in "Ana's Song" and "Emotion Sickness" from 1999's Neon Ballroom, a largely overlooked album that wonderfully combined intricate yet straight-edged rock riffs with bombastic orchestral arrangements.
Several years later, current album, Young Modern exudes the aura of a man who hasn't so much slayed his demons, but learned to live with his past; despite a recurrent theme of insomnia, it's largely an optimistic outlook, moulded by the knowledge and experience gained of past struggles. Musically, it may feature less of their synonymous orchestration and certainly offers little hint of their grunge roots, but rather than betraying their beginnings it feels like a natural and emotional progression. Most of those in attendance at this show, only Silverchair's fifth UK appearance in marginally under eight years, were fans attracted from the band's earlier releases who have matured alongside Silverchair's own progressions, with an overwhelming expectation that the show will be used to showcase more recent material.
Taking to the stage decked in white shirt and a thin tie, Johns' demeanour was actually far more personable and timid than the reputation that preceded him would suggest. As they launched immediately into recent album opener "Young Modern Station" inklings that the show would focus on newer material were confirmed. The fan's appreciation being largely reserved for older favourites, the aforementioned "Ana's Song" provided a moving singalong whilst "Emotion Sickness" gave an early focal point with rampant cheers arriving between the song's separate sections. The band's largest hit, 1997's "Freak" was reserved for a fan-friendly finale. With such songs being interspersed with new offerings, there was a verve and energy apparent throughout; as Johns removed his shirt halfway through he displayed his ripped torso, certainly no longer the product of an eating disorder. It may be a token rock gesture, but one which befits their confidence appropriately without even casting an eye towards arrogance.
Of the newer material, 9-minute epic "Those Thieving Birds (Part 1) / Strange Behaviour / Those Thieving Birds (Part 2)" formed the masterful centrepiece; sprawling from the lust orchestration of its beginnings, here provided by two accompanying keyboards, through fist-pumping pop-rock and back again full-circle. Lead single "Straight Lines" exuberates John's new found joyous optimism whilst "Insomnia" details more recent concerns.
Some criticism abounded that the set's 80-minute length was rather modest; yet it was a show largely devoid of filler and intriguing for that reason – whilst Silverchair's musical pallet is constantly evolving, there's probably not yet enough stylistic variation to maintain the intensity in a far longer set, certainly devoid of a backing orchestra. It's a show that doesn't needlessly dabble in overplayed back catalogue material, nor does it excessively focus on promoting Young Modern; where Silverchair's main strength lies is that they have slowly developed away from their post-Nirvana beginnings and continue to carry their original support along the way. Their live reputation has been uncertain for some time, but on the evidence of this show their current output should continue to consolidate their faithful and incredibly patient followers.
--Photo by Martin Philbey.
Karl Butler
September 24, 2007
