Perennial cool dads Wire played to a mellow crowd at a
not-too-packed-out Kings Arms last night. Although it's a shame when shows don't sell out, it did mean that a dedicated and attentive
audience hung off every note, and the severe music-fandom of many
punters made for respectful and courteous gig-going. Opening the
evening with a hiss and a roar were Trust Punks, a youthful Auckland
act who have been making ripples, which may yet turn into waves, over
the past year. With a total of four guitars on stage, the
effect was semi-organised chaos - disharmonious guitar pop made by
choir boys gone wild. Charmingly gawky, their deadpan but engaged
performance made a refreshing change from the swagger of flamboyantly
hip indie acts of the last decade, while their genuine exuberance
offers a stark contrast to the present state of said acts, many of
whom are now becoming worn and jaded.
Thankfully, this was not the case with Wire, who obviously still
relish playing live. As promised, they played a selection of both old
and new tracks, opening with the coldly beautiful 'Marooned' from
1978's Chairs Missing, a gracious gesture from a group who once
famously hired a Wire tribute band as their opening act to avoid
playing their own back catalogue (slyly referenced by Trust Punks'
threat 'we're going to play an old one... it's called 'Outdoor Miner'.
Just kidding'). As their discography proves, Wire have never allowed
themselves to be weighed down by their legacy, easily jumping from
true punk in the seventies to synth-heavy new wave in the eighties to
the heavier sounds of the nineties onwards while retaining their
chilly minimalist core. This may be due to their lack of true
commercial success but, regardless, is laudable.
Wire played a relatively straight show interspersed with dad jokes,
with little of the artifice or spectacle older bands often use to make
up for sloppy musicianship. The main visual point of interest onstage
was the glossy chestnut mane of guitarist Matt Sims of It Hugs Back,
which he used to great effect as a combination dance aid and floor
sweeper. While the band were more animated and confident playing
newer tracks (in direct contrast to the audience, the bulk of whom
were original fans of Wire's seventies and eighties oeuvre), they
generally played in tight arrangement and positioned themselves more
as musicians than performers - a situation the crowd were more than
happy with. Colin Newman used an ipad strapped to a mic stand as a
mixing board - I initially thought he was using it as a lyrics sheet,
but as he left the stage he proudly turned it toward the crowd,
apparently pleased as punch with his technical savvy.
Clever tempo-switching and unidentifiable noise effects were the order
of the night, and the band were adept at building and lowering momentum,
peaking midway with Newman repeating 'heaven's open/there's no space'
with nineties angst-soaked spirit, before spiralling down into a
looser series of extended jams to finish on a thundering high note,
culminating with demonic wailing from Newman, raising arms high above
head as band members began vacating the stage to rapturous applause.
From all appearance, it was a truly satisfying evening for band and
fans alike.