Ella Raphael opens the show - she plays an acoustic guitar and sings some mellow songs.
It’s a little difficult to sum her up, she’s likeable, but she hardly speaks... not quite the sort of
vibe that the rest of the night is going to be about.
Next up is Juanita Stein. She may be better known to music fans as the lead vocalist of Australian indie rock band Howling Bells who have supported the likes of Coldplay and The Editors, but she’s here as a solo artist tonight. Stein is more vocal with the audience. She plays a huge maroon coloured guitar, her clear vocals are clear, and her guitar work is inventive.
Evan Dando is the lead singer, only constant, and sole remaining original member of The Lemonheads an alternative-rock band that formed way back in 1986 in Boston, USA. They gained an early following mostly for cover versions of songs such as Suzanne Vega’s Luka, and Simon & Garfunkel’s Mrs. Robinson.
In 1992 they released It's a Shame about Ray which turned out to be their breakthrough album featuring the hit single Into Your Arms.
Dando arrives on stage about fifteen minutes late, to a slightly irritated audience; it feels as though his lateness is due to nervousness. He suffered many years of substance abuse but in recent years he’s seemingly kicked the worst of his addictions and mostly cleaned up his act.
He cuts an imposing figure, scruffily dressed in black with paint on his trousers – a cue to his passion for art. He’s dishevelled, but handsome, although his long unkempt hair and beard cover his face. He places pieces of artwork, including a painted setlist, and some books around the stage – the audience are puzzled by this and by some of his more obscure anecdotes, clearly wishing their favourite Lemonhead would get on with the show.
Dando’s nerves seem calmed by the audience singing along with him
Dando’s nerves seem calmed by the audience singing along with him for the first few songs, The Outdoor Type and Being Around, while he finds his feet. The setlist is made up of several covers but also several ‘90s classics taken from the albums It’s a Shame About Ray and Come on Feel the Lemonheads – critically and perhaps creatively this was clearly Dando’s peak. He had youth and a band around him. He may have lost some of that over the years, but thankfully he’s not lost his charm, or his hardcore fans.
He really comes to life when singing tracks like It’s A Shame About Ray and Into Your Arms. He can’t hit any of the high notes, but he just tries anyway, laughing at himself. His vocals on his studio work are amazing, but years later he just can’t replicate them in a live setting – but he knows it and he doesn’t care. And because he’s funny, likeable and makes light of his own mistakes the audience are won over and go along with it. There are flashes of brilliance throughout, such as when he sings Tribute to Hank Williams with conviction.
A critic would lament Dando’s performance – marred by half forgotten lyrics, sloppy guitar work and rushed songs – but to do this would be churlish because the audience is loving it all and don’t appear to mind the slipshod nature of Dando’s performance in the slightest.
About 30 minutes from the end of the set he clearly gets a message from the wings of the stage that his time is running short. He’s still got a lot of songs to sing. So he just sings faster and plays his guitar even more furiously. He sings Confetti and Fear of Living as a if they were a medley and abandons Into Your Arms after the first chorus as if it wasn’t his most well loved song. At this point nothing feels rehearsed or polished, he’s just getting by on presence and an irresistible smile. He even takes a walk through the audience to get closer to his fans and they just lap it up, delighted. And why not?
Considering that he is a songwriter and musician of genuine skill, it’s surprising that he chooses to perform so many covers in his live act. He has always been known for having a penchant for reinterpreting other people’s work, but in his live act with 90 minutes on stage (already cut short by his late arrival) the covers have pushed some original numbers such as The Great Big No and Big Gay Heart out of his setlist that would otherwise have been improved by their inclusion.
My Drug Buddy is an audience favourite towards the endow the set which has clocked in at around 25 songs. Obviously there is no time for an encore break, so Dando takes one anyway before ending with a couple more covers of Richard Thompson songs Withered and Died and The Dimming of the Day/
Dando may have put himself through hell over the years, but he remains unbroken and defiantly the man he wants to be. He’s enjoying himself and he’s probably not bothered what you think of him. Reviews of this tour have said that his shows are shambolic and there is undoubtedly evidence of that, but exactly what is affecting his performances – whether it’s years of abuse that have simply taken their toll, or if he’s just lost it – is all debatable.
Even at 57, Dando retains enough of his youthful charm to endear him to his audience who seem perfectly happy to stick with him. But it’s a little difficult to watch someone who was one of the foremost musicians of his generation struggle to live up to the level of brilliance of which he is capable. He may need to take some more time to work on himself. If he comes back stronger he has an fanbase that will turn out to see him welcoming him back into their arms.
Evan Dando performed at Rescue Rooms on 27th October 2024.
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