The Hordern Pavilion was very full in spite of the rather early start
time of 7:00pm on Friday night. As they waited, punters were treated to
recorded music that included Sly & the Family Stone’s “Everyday
People,” what would be a fitting introduction for the community-minded
conscience music that was to follow.

Blue King Brown performed
first, the eight musicians earning cheers as they clattered their way
through their soul-soaring, urban roots music. Singer and occasional
guitarist, Natalie Pa’apa’a won the crowd over with her positive
affirmations early on. And when this was coupled with her meaningful
lyrics about politics and an end to war and poverty, it proved a winning
combination at bringing everybody together.

At times their
sounds were reminiscent of The Beautiful Girls’ roots-reggae style, but
then they’d throw in odd curve balls like spaced-out pop synth elements
that could have featured on the Yeah Yeah Yeahs’ It’s Blitz record. This
was certainly the case on “Women’s Revolution,” which was liberating in
its urban groove-meets-jetpacks and whizzing lines.

Big single,
“Come and Check Your Head” had a funky rhythm that sat somewhere between
the feisty, colourfulness of The Cat Empire and the pop catchiness of
Bananarama. The audience seemed to agree, by lapping up the call and
responses and clapping along to the band.

Pa’apa’a proved she was
more than just a musician and entertainer as she rain-danced and
sashayed around the stage with the group’s positive movement flag as her
sole prop. Her delivery felt like a warm embrace from a gorgeous earth
mama and this was particularly evident in “Never Fade Away,” a song
inspired by a trip to Jamaica.

The band took things up a notch
with some “afrobeat” that segued into a musical mash-up where every
member got a chance to shine in the spotlight with their own solo. This
included big percussive breakdowns; a Hendrix-inspired guitar solo and
Carlo Santone using his bass as a channel for Michael Jackson’s “Billie
Jean”. Blue King Brown are not ones to leave the audience out of the
frivolity so they stopped for eight bars allowing the people to cheer
loudly and stomp in their seats. As a result, they’d well and truly won
everyone over and a few people vented their frustration at the
announcement of their final song, “Moment Of Truth”. They would still
pull out a good version of the ditty, leaving everyone warm and ready
for the main event.

John Butler came onto the stage at the
respectable time of 9:15pm to introduce Joseph Rowe from Broome’s
Kimberley region. A short speech was given about the West Australian
Government’s plans to build a gas mine through the area. As protest
groans rang through the venue, Rowe stressed the fact that there are
better alternatives available. Everyone was then encouraged to sign a
petition to protest the government’s plans. 

It was subsequently
time for the music and the trio put on a long show, playing for around
two and a half hours with cuts mainly deriving from the April Uprising
record and the old favourites that must feature as part of any John
Butler show. The trio entered the stage claiming that they play in
peace, love, respect and unity with “Pickapart” quickly proving they
would deliver on their word. It warmed the cockles of peoples’ hearts
with its rollicking drums and catchy guitar riffs.

Some fans
started throwing around white balloons during “I’d Do Anything
(Soldier’s Lament)” and this continued long past the watery riffs of the
song and throughout much of the evening. A great spectacle, it really
was a great example of people power, albeit strangers united in a
cavernous concert venue. “Used To Get High” gave consumerism a mighty
kick up the arse before the country hoedown of fellow Grand National
track, “Better Than”.

Some newer songs followed with “Don’t Wanna
See Your Face,” “Take Me” and “Revolution,” the latter featuring some
strange loops that seemed to be a million miles away from the folk rock
sounds the artists are usually synonymous with. In a return to original
form, the lap steel came out with Butler picking away some stay notes
before launching into “Treat Yo Mama”. Bryon Luiters (bass) played a
didgeridoo solo while Butler’s music adopted an eastern flavour at times
sounding like a sitar.

They performed a cover of Kev Carmody’s
“Thou Shalt Not Steal”. It was saddening to think that history was
repeating itself in light of the plans for the Kimberley region, but
stripped down to the bare essentials it proved to be one of the
evening’s highlights. That was until “Ocean” as Butler performed the
epic solely on acoustic guitar. He would create his own instrumental
body of water from ragged waves of fury to stillness and clam kissing
the shore and just about everything in between. It was after this song
that I’m sure the entire audience would’ve happily made Butler
Australia’s new Prime Minister; such was their admiration and respect
for the man.

A Clapton-esque guitar ballad followed with “Mystery
Man” while “Groovin’ Slowly” was the complete antithesis of this and
basically a sultry ode to a night out with the “crew”. Rounding out the
set were an extended “Good Excuse;” “C’mon Now;” “Zebra” (with clapping
beginning just seconds into proceedings) and “Close To You” with its
grungy guitar riffs that appeared to be taken from a Breeders songbook. 

Butler
returned to the stage alone for an encore and commenced a
spine-tingling version of “Peaches and Cream” before being joined by
Luiters (bass) and Nicky Bomba on kettledrums for the home stretch. The
couples around the Hordern snapped up this perfect opportunity to
cuddle, it was very sweet. “One Way Road” meanwhile, got the people to
dance and this continued into the show closer and Butler anthem, “Funky
Tonight”.

The John Butler Trio had put on a solid show of hits
and new material that was a little long at two and a half hours, leaving
a set for only the most ardent of fans to view in its entirety. They’d
come through on their promise of peace, love, unity and respect and had
made people dance, smile, laugh and possibly even cry. In short it was a
mostly wonderful, shared experience for all thanks to a great
soundtrack of material that at times felt like home. Beautiful.