It’s been five years since Melbourne songwriter Whitley
(the moniker of Lawrence Greenwood) burst onto the indie-music scene with his unique blend of gentle,
acoustic-based folk and strikingly intimate lyricism. Since then he’s completed
countless tours, criss-crossing our country and delivering his art to many
adoring fans all over Australia. But while it hasn’t even been three years since Whitley released his debut album, now,
after well and truly making his mark on the local music scene, the young
singer-songwriter is setting sail for greener pastures and relocating to Europe
where he plans to ‘explore new kinds of music in a new environment’, but not
before delivering one more national tour.

Making sure he was in good company, Whitley chose
Australia’s favourite shoegazers Seagull to accompany him across the vast
countryside.

The brainchild of Chris Bolton, a classically trained
guitarist who has proclaimed to be influenced by “the sonic adventuring of
minimalist music” as well as “the rustic traditions of folk and blues”, Seagull
have slowly garnered national attention over the last few years, having toured
extensively alongside Whitley twice following releases of both their debut
album Goodbye Weather in mid-2008 and Council Tree earlier this year, to an
overwhelmingly positive response.

Playing a short set of their sparse, hypnotic folk-fused
post-rock tunes, which showcased their dynamic, fuzzed guitars, reverberating
vocal crescendos and emotional, almost tragic, lyricism, Seagull’s set was
overwhelmingly uncomplicated and refreshingly clean, so much so that when they
went beyond their natural plaintiveness during tunes “Two Trees” and “Waiting
For You” their energy seemed magnified, and made for a truly beautiful,
haunting performance.

It was amidst a heady mix of celebration coupled with a
nostalgic, almost romantic, sentiment that Whitley embarked upon his
penultimate gig in Perth under said moniker.

Performing virtually every song contained on both his
full-length releases – 2007’s The Submarine and 2009’s Go Forth, Find Mammoth -
in a huge extended double set, Whitley began with a quiet, solo performance, of
his sadder, more melancholic tunes punctuated by a plethora of sometimes rather
rude, but always very funny, between-song anecdotes.

Perched on a barstool Sitting on stage alone, Whitley looked
like he was performing on the edge of his bed, rehearsing alone. During “I
Remember” and “The Life I Keep”, he plucked his strings in pure Jose
Gonzalez-fashion. While performing “Lost In Time”, it seemed, for a moment,
like his guitar might overwhelm his vocals, but fortunately he leaned into his
lyrics just enough to rise above the accompaniment. Tilting his head back while
hitting the chorus to “More Than Life” was one the few times he showed true
emotion, scrunching his face up to bleat out, “ The pain that comes today / Is
here, then goes away.”

Striking the perfect balance between emotion and serenity,
Whitley shined when he let himself become really immersed in his music, making
for a powerful performance that emphasized his unique vocal approach. Clipping
the end of his lines as he leaned over his guitar and struck his chords
sharply, the enunciation of the last syllables of his lyrics made for
captivating listening as he snapped listeners to attention when he could have
quite easily been lulling them away with his tranquil lullabies.

Featuring near-flawless acoustic performances of all of his
best songs, Whitley’s slow, moody polemics garnered a great response from the
attentive and rapturous crowd , despite the fact that the sound quality was, at
times, less appealing than on his immaculately recorded records.

The highlight of the night was Whitley’s stripped back,
acoustic performance of “All Is Whole”, which really exposed the brilliance of
his poetic ability. Both sentimental and inspiring, his pure, raw emotion rang
out through the tune, showcasing his truly palpable talent.

Likewise, the encore of upbeat single “Head, First, Down”
proved to be a bittersweet moment - both for the enamoured crowd, and Whitley
himself - as every member of the audience sung the chorus joyously in unison,
before the lights faded, the noise subsided and it finally set in that this
was, ostensibly, the end.

With a crowd that was clearly lapping up every syllable that
left his mouth, this reviewer was left wondering why this clearly admired, and
certainly successful, artist is choosing to leave his unique brand of music
behind when he could easily have audiences around the country enthralled by his
every exploit. It’s a brave move, and certainly one which deserves approbation.

Besides, they say absence makes the heart grow fonder, so
this reviewer thinks it’s safe to say that the next time Whitley plants his
feet on home soil, his music fans coast-to-coast will be waiting to embrace him with
open arms.