One of the most rewarding things, to me, about bands and musicians is the progression of style and sound. Following them from their inception to their current state is, most of the time, a dynamic thing; even in its most subtle of nuances and changes. Also, which is defined by these differences, is our own opinion on them and how those can change or be changed.

I first saw the band Cuthbert and the Nightwalkers when I worked at the Vanguard in early 2008. I remember walking in to work, reading the line up for the night and exclaiming, “Cuthbert and the what what? What the fuck is that supposed to be?!” to my manager. Watching them on stage for the first time, it was this bizarre indie melange of colours and noise ideas, collaborated amongst this enormous group of peculiar individuals. I remember thinking, “this is so Newtown...”

Like your first sip of beer, or your first exotic meal, the band had an unfamiliar, alien flavour. Yet like that meal which upon first taste was foreign, later on you just couldn’t get the memory out of your head. Then, you try it again. Or in my case, they played at my work again (they had a lot of residencies in those days, including the long lost Hoey). The experience was now something you didn’t regard as an assault to your senses. You savoured the textures and exotic flavours. In the music sense, you digested the lyrics, rolled the subtext around your mouth, and enjoyed the heady nature of their showmanship and onstage presence. It was suddenly a wonderful thing to experience and behold.

The review I’m writing wasn’t intentional. Rocking up, I wasn’t thinking “let’s get our critiquing pants on and get processing”. I had heard through the grapevine that after a seemingly long hiatus, Cuthbert and the Nightwalkers were back... but in a new form sans the Nightwalkers. It was a more condensed version... a “travel edition”, so to speak. Going under a new, yet familiar moniker, the lead singer/songwriter Richie Cuthbert has decided to become simply... “Cuthbert”.

But what of the Nightwalkers? How can this be true? Can it be just as good?
Well, first, they’re still kind of there. The band dynamically changes to include old members, new members and sometimes purely transient members. Second, yes, this can be true. The final answer to the (most significant) third point is – Absolutely.

Without a doubt, this “reworking” pulls no punches and asks no discounts. It doesn’t even have a loyalty card. There is no “for every full priced item you receive something at half price” scheme. That factor that ran through the older songs and defined them as “Cuthbert” songs remains, but now with a quiet strength that reinforces without the in-your-face intensity... Like you know something is immense, despite glimpsing only the tiniest fragment. Take note, kids - every song is a quality bespoke item.

Playing at the Gaelic Theatre on Friday the 25th, as part of the Purple Sneakers (now there’s another progression in itself!) night “Last Night” Cuthbert took the final timeslot. I only got there in time to find them as the last act, and thankfully, I witnessed the new Cuthbert concentrate. There is something about a Richie Cuthbert song. Being compared to bands similar in sound, (and in the heyday The Polyphonic Spree, only ‘cause they had significant numbers on stage that could produce such an impact) the distinct sound this local Sydney songwriter emits makes the foot tap, the soul soar and the grey matter ponder.

Playing several new tracks to the crowd, some as new as a week old, interspersed with some old triumphs (“Pace Ourselves” for one, is in my top few of favourite CATNW hits) the group held fans wrapt. Fan girls screamed for requests, obvious friends yelled some digs, and all (offstage and on) could not help but enjoy the show. Cuthbert has such complexity to his songs. On one level, the innocent simplicity hides these layers in a type of musical obfuscation. Once that first idea is manifest, the further layers emerge, like the myriad flavours in a well crafted wine. The careful selection of musicians he uses are completely utilised to their most magnificent capacity, so maximum impact cannot be anything but achieved.

My personal moment of beauty with this performance came absolutely right at the end. With an extremely stripped down ditty, it’s seemingly uplifting lyrics, catchy melody and fun participation of all band members dropping instruments, singing along and clapping their hands to the beat, Richie sliced in an exquisite moment of chagrin fused with sorrow in the most unlikely of places. It’s moments like that that I both adore and cherish, demonstrating the fine ability perfectly placed in the briefest of moments and the most basic of ways.
To tie off with my comparison of food, like the banquet’s evolution to molecular gastronomy’s simplistically complex beauty, the new Cuthbert has done nothing but exceed expectations.
The memory still lingers now.
But all it did was whet my appetite.