Dan Sultan should be packaged and marketed as a panacea.
Headache? Heartache? Ailing Aussie dollar getting you down? A prescription of a
Sultan set is sure to cure what ails you.

Quite simply, it is a gig where you check your worries at
the door, relax, enjoy and emerge feeling a little more at peace with the
world. With this in mind, it was somewhat surprising that the venue was
insisting on playing the entire back catalogue of The National whilst first
performer Steve Veale was setting
up.  Performing without his band The Hello Morning, Steve delivered a
set which provided a folkish country blend of tracks which were a delight to
listen to.  Steve possesses a versatile
voice, and can easily lift a gentle verse into a thunderous chorus.

However one man and his guitar will always have a tough time
engaging a Manning Bar crowd. As the masses drifted in, the tracks were lost in
the wash. The Hello Morning seem best suited to sunny summer afternoons rather
than a bitterly wet Sydney winter. 
Definitely a band to check out in another context.

Thankfully, the audience were far more receptive to the next
act. 
Gin Wigmore took to the stage like a little ball of energy-
marching, jumping and dancing her way through an absolutely delightful
set.  Opening with the extraordinarily
sultry “Hey Ho”, Wigmore drew the crowd away from cigarettes and beer,
enchanting the crowd with her unique mix of timeless tracks and
self-deprecating banter.

I often worry that I am too critical of female vocalists. I
am quick to judge, and ask for more. 
However seeing Wigmore perform, it is clear that she just sets the bar
rather high.  The songs are quite simple
within themselves, but there is a sense of joy which permeates her performance
which is so infectious.  Accompanied by a
full band, Wigmore never loses her presence or power, but still commands
attention from both male and female audience members with her unique vocal
style.

Never taking herself too seriously, she switches between the
upbeat stomp of “Under My Skin” to a surprisingly tender cover of “Somewhere
Over the Rainbow”. Gin Wigmore and her band are the perfect opener for Dan
Sultan, bringing the feel-good vibes to the room and preparing us perfectly for
the raucous enjoyment guaranteed by a Sultan gig.

Sultan brings with him a full band featuring keys and brass,
and as such, the experience is very much a wall of sound.  His songs are quite simple in their
construction, and rely on layering and replication by the different
instrumentalists to create a rich backing to compliment the outstanding vocal
delivery.

Opener “Goddess Love” reveals the format the band takes.  With Sultan providing the bulk of the substantive guitar contribution, song-writing collaborator Scott Wilson is able to fashion lilting, melodic guitar lines which float over the duplication.  This lightens the music, and provides sophistication which juxtaposes well against the alt-country base.

The first half of the set is comprised predominantly of tracks taken from 2009 release Get Out While You Can, with “Fear of Flying” showcasing the brass contribution from Tim Henshall on trumpet, and The Hello Morning’s Steve Veale on trombone.  The brass works in conjunction with keyboardist Gina Woods to create a vintage sound, and indeed the band is at its best when the brass is allowed to shine.

The first half continues to build, with the peak of the performance the incredibly sexy “Letter”.  Sultan groans and the audience shudders in response- their obvious appreciation typified by the rose thrown on stage. The band is obviously used to such an occurrence, and continues to woo the crowd with “Walk Through My Dream”. New single “Old Fitzroy” shows the gentle Sultan, whilst “Fool” allows the fun to shine through.

One of the most endearing things about Sultan is his self-awareness as a performer.  His professionalism shines as he show ponies about the stage, acting every bit the front man. However, it seems he doubts his own hype, as he never allows the showmanship to delve towards self-indulgence- poking fun at himself throughout the performance. 

The encore follows the typical Sultan set-list- “Nyul Nyul Girl” from the Bran Nue Dae soundtrack is performed by a solo Sultan, and is quickly followed by his most poignant track, “Roslyn”.  The song speaks of his family experience as victims of the Stolen Generations, and indeed it is a tale which seems to resonate throughout the audience, with several members visibly moved.  This reaction is a testament not only to his song-writing ability as a performer, but his versatility in delivery.

This adaptability is continued as Dan shifts from the personal, to the frivolent and fun.  The full band returns for a final performance, with Scott Wilson introducing “Cadillac and a Mustang” by saying “Some songs are about stuff, and some songs are about shit all. This is one of those”.  The energy surges throughout the song and continues into “Money”, which allows Sultan to show off the trademark dance moves and leaves women and men feeling flustered and envious respectively.

Perhaps the only identifiable fault in the set was the omission of “Get Out While You Can”- the track from which both album and tour take their name.  This is one of the highlights of the LP, and it seems such a shame not to hear it.  Nevertheless, the audience has been treated to a generous performance, so endearing that it warms the departing crowd throughout their rainy walks home.