“The Australian reincarnation of Joy Division” is a comparison consistently pinned on City Calm Down, but it’s undeniable that the Melbourne four-piece at least partly owe their sound, style and presence to the iconic post-punk pioneers. Leaning on a pastiche of melancholic Smiths-inspired melodies, retro synth lines that scream Depeche Mode, and an unapologetic theatricality comparable to Talking Heads, City Calm Down are one of the few Australian bands still carrying the torch for the new wave vanguard over 30 years later. While tinged with a current indie edge à la The National or Frightened Rabbit – mainly due to frontman Jack Bourke‘s doleful bassy baritone – their music genuinely feels like it is made by, and for, fans of a formative bygone era.
Thankfully, the luminaries of ’80s alternative dance rock have also shaped City Calm Down’s hypnotic live presence. Before an eager sold out Sydney crowd at The Metro Theatre, the quartet deliver a whirlwind set that mirrors New Order circa 1984 without sacrificing their contemporary cross-generation appeal. At the pinnacle of their sprawling opener “Wanderer”, Bourke’s flailing Bowie-esque moves are more assured than ever before; the unshackled captain throws his gangling figure all over the stage as if caught in the throws of an invisible storm. “Wait, I’m not lost / I’m only wandering / I’m only stumbling,” he croons, lurching to and fro until placated by the grand church organs that introduce “Son”. It’s already evident that not even the lively support sets from up-and-coming locals Middle Kids and punk pop crooner Ali Barter could have prepared this diverse crowd for the flashy City Calm Down experience.
Twin trumpet players climb on board to bring some serious punch to ‘Movements’ EP standout “Pleasure & Consequence”, allowing Bourke to play off the energy of the new hands on deck. This electricity sets the standard for a thrilling trio of grandiose anthems; “If There’s A Light On”, “Falling” and “Until I Get By”. At one point during “Falling”, Bourke comes face to face with bass player Jeremy Sonnenberg, bellowing into the mic and breathing down his band member’s neck as if possessed. It’s a risky dance on the fine line between charming showmanship and needless melodrama, but Bourke is too wise to lose his balance, pulling away at the perfect moment and returning to enamour the hundreds of fans still planted in the palm of his hand.
Recent single “Border On Control” retains the ecstasy in the room, further vitalising an already smitten crowd. As the band prepare to burst into the rollicking chorus, Bourke climbs aboard his foldback monitors to conduct a hearty singalong. “Oh it borders on control / At the border of your soul,” the crowd roars back, eliciting a rare grin from Bourke that seals the deal on a special moment. Without missing a beat, they swiftly launch into a faithful cover of The Smiths’ “This Charming Man”, successfully channeling their forbearers without delving into derivative territory. The entire venue absolutely eats it up, confirming that City Calm Down have already managed to pinpoint their target audience with only an EP and album under their belt.
Unsurprisingly, the boys close the show with their two mighty radio regulars. The gritty opening riff of “Rabbit Run” sends shockwaves all the way to the back of the venue; drinks and fists are thrust upwards in unison as drummer Lee Armstrong assumes the spotlight with that zealous rolling beat. Right on cue, he carries everyone into “Your Fix”, City Calm Down’s ironically upbeat “fuck you” anthem. “If you’re looking for forgiveness, I don’t care”, Bourke snarls, dodging hulking security guards scrambling to dismount rowdy fans from the pit. It’s a surprising sight at a City Calm Down show, but “Your Fix” is the band’s bonafide hit, dripping with pop appeal and marked by an inescapable synth hook that clearly works magic live.
With a 90-minute set gone by way too fast, City Calm Down’s position at the forefront of the Australian alternative rock landscape is certified. Jack Bourke is an Ian Curtis in the making, and there’s something very appealing about a band unafraid to channel their influences with such audacity and charm.
Photos by Jordan Munns: