What started as a rumour was quickly confirmed by a flurry
of texts- Los Angeles band Carney
had been booked to play a last minute slot at the Beach Road Hotel. After a rapturous reception at the East Coast Blues & Roots Festival
in Byron Bay, Carney had quickly firmed as a must-see.
With a reputation as one of the most dynamic live new bands, you had to feel a
little bit of sympathy to local band Wim
who were headlining the evening.

Carney blend modern rock sensibilities with an appreciation
of more rootsy blues elements. Throw in a bit of seventies-tinged guitar solos
and you have a combination - which, strange as it sounds, really works.  Their strengths are obvious- drummer
John  Epcar and bassist Aiden Moore
provide a platform from which the dizzying guitar work of Zane Carney can
compliment Reeve Carney’s truly brilliant vocals.

Reeve’s vocal range is outstanding, as he leaps effortlessly
from a garage snarl to plaintive scream in lead single “Love Me Chase Me”.
Sweetness wafts over the gypsy-folk mood of “Amelie” whilst “Testify” provides
the seventies element, with heavier guitar riffs.

By the time they reach their penultimate track, Carney are
already preaching to the converted. 
However, if any disbelievers were still present, they were hopeless to
resist the sheer brilliance of the Carney cover version. Prefacing the song
with the introduction “I first heard this song on Wayne’s World, you may know
it…” Reeve begins a haunting rendition of Queen’s “Bohemian Rhapsody”.  This is the perfect demonstration of his
vocal abilities, delivering the song to a new place.  Stripped of harmonies, we are reminded of the track's subject matter. Just as we are expecting instrumental intervention,
the band steps in and weaves Bohemian Rhapsody into The Beatles’ “I Want You
(She’s So Heavy)”.

This is most certainly the sexiest version I have ever heard
of an already sultry song.  Reeve growls
and howls his way through a slowed down verse, with Zane contributing a
discordant, but oh-so appropriate harmony. For a moment I forget I am in Bondi, and am transported back to the dive
bars of Los Angeles.

Occasionally, Carney indulged in extended instrumental solos
which bordered on losing the crowds attention. Technically, Zane Carney’s solos were
sublime, demonstrating unparalleled dexterity, so the inclusion of these
musical indulgences was understandable. The boys were generous, playing a full set, despite their last minute
addition, and gained a new legion of fans with promises to return Down Under
soon.

Having such a phenomenal international act play before you
is not exactly the dream warm-up for a local headliner, however rather than be deterred,
Wim instead seem to rise to the
challenge.  I have seen this band in
supporting roles a couple of times now, and they have always delivered
thoroughly enjoyable sets which fuse vintage pop references with a folkier
world view. 

Headlining, Wim are a different musical beast.  Whether it is their coordinated stage outfits
of white, glitter-adorned faces or legion of loyal friends and fans before them,
the band display a confidence I have never seen before.

Songs are a little louder, and their quieter numbers are
heavier. “Diamond” showcases a bass
contribution from Dustin Bookatz not evident previously, and provides a new
interpretation which is greatly appreciated. 
However their requisite sweetness is maintained in FBi favourite “Milk
With My Tea”. The audience is treated to
some newer tracks, with “Colossus” showing a more introspective side to a band
whose tracks already feature a mature intensity not found in similar local
acts.

“I’ll Be There Anytime” takes their natural emotive delivery
to a new level.  Martin Solomon’s lilting
vocals are accompanied by harmonies from Bookatz and guitarist Saul Wodak.  Wodak uses a cello bow over his guitar
strings to create a tremolo which underpins a sort of tension felt, brilliantly juxtaposed against the lyrical content.  You can’t help but feel that a violin echoing
this guitar tremolo an octave above would deliver the song an even greater
intensity than already present.

Wim’s standout track remains “John”. Simon Jankelson’s keyboard introduction takes
you to a sepia-toned past, and there is an elegance and internationalism in
this song which surpasses any of their other offerings.  Harry Thyne provides a relaxed percussion
which anchors the song as the melody wafts and weaves throughout the song.

Wim more than meet the challenge of performing after Carney,
and their maturity and experience is seen in their ever improving live performances.  With a string of gigs lined up around Sydney
in the coming months, it seems their name will continue to spread.