Monday night saw Sydney’s Manning Bar open itself up to the wonderfully immersive sensory experience that Danish art rockers Mew produce. With a smooth soundscape and eye catching visuals, it was a rare treat to see the perfect unison of audio and visual engagement.
Melbourne’s prog rock stars, Closure In Moscow were a delectable pairing with the night’s main act. This was my first time seeing them since the release of Pink Lemonade back in 2014 and boy, have the lads grown. Christopher de Cinque rightfully owns the position as the band’s lead with his dynamic stage presence and grand vocal talents. But no man is an island and the collective skills of band put forward a spectacular set.
Closure In Moscow
Older material such as A Night At The Spleen emerged during the set instilled with new life but couldn’t match the grandness of the gospel-esk The Church of The Technochrist. The finisher, Happy Days, brilliantly exhibited how tight these musicians are together, as the it soared higher and higher until its climactic end.
After a brief break, Mew were welcomed to the stage by the cheers of adoring fans. Launching straight into In A Better Place from the newly released Visuals, the standard for the rest of the night was set high.
The beauty of the night’s performance laid within the band’s versatility; one moment you felt the strong rigour within Candy Pieces All Smeared Out and the next hit was the placid calmness that Carry Me To Safety evokes. It’s clear that being in the business for over 20 years has allowed Mew to perfect their craft.
Though the release of Visuals was the reason Mew ventured out to Australia, diehard fans were treated to a few gems including The Zookeeper’s Boy and the night’s closer Comforting Sounds.
Truly a band that transcends the traditional conventions of music, Mew’s masterful blend of aural goodness and stark visual put them in a league above so many musicians.
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Closure In Moscow