Khruangbin @ Fremantle Arts Centre
w/ Mildlife
Wednesday, November 23, 2022
It’s been a big few years for Khruangbin. The Houston, Texas, trio have blazed a funky trail through the underground scene, gained notoriety for their live shows, and are now a certified phenomenon. Their name is Thai for ‘airplane’ and their unique, mostly instrumental sound is a smooth and exotic mix of Thai funk, psychedelic slow jams, soulful grooves, surf rock, African rhythms and world music vibes, influenced by the band members’ diverse and eccentric influences.
They’re a band that all the musicians, DJs and artists you know love and will tell you that you have to listen to; and then you will also fall in love! And there was a whole lotta love last Wednesday night at Freo Arts Centre for their first visit to our shores – and the band did not disappoint, putting on a truly magical experience, as the assembled masses were blessed in the church of Khruangbin.
Originally scheduled to tour in support of Tame Impala a couple years ago, they pulled out after multiple postponements. But Khruangbin have now gained a cult following and become headliners all of their own, and this was a much better way to experience the band for the first time – on a balmy, sold-out night in the lush confines of the Arts Centre.
Melbourne’s Mildlife were a fitting choice of support. Their smooth instrumental, jazzy grooves won over the early crowd and were a nice way to warm things up. Super chilled, lush and psychedelic, their sound is reminiscent of Air at times, mixed with early Pink Floyd interstellar vibes.
A tight combo of keyboards, bass, drums and guitar, all played their part. Elite musicianship, freeform rhythms, and sombre vocoder vocals blended with synth noodling, culminated with the dynamic and spacey groove Automatic.
The vibe was set, and the air grew thick in anticipation as people shuffled towards the stage, while others tried to make a quick run to the bar. Then, before we knew it, the stage was awash in smoke and red lights, and there they were, emerging from the haze like some mystical beings, Khruangbin.
They kicked in with the slow jam Rules, Donald “DJ” Johnson Jr, the human metronome in a cowboy hat, kept the beat locked down on the podium, with the sharply dressed Mark Speer rocking the guitar and style queen, bassist extraordinaire Laura “Leezy” Lee looking resplendent in a short furry red dress, beret with love heart stockings, doing her dip-to-the-groove thing. Speer and Lee were also both rocking the signature long black wigs that have become a striking part of the band’s image, with the bonus of giving them anonymity.
August Twelve followed, its second half a gloriously chilled bluesy riff, with Lee swaying slowly in silhouette illuminated by the red and purple back light. Dern Kala is perhaps their signature tune, and saw Speer and Lee come together to do alternating dips to the music, much to the crowds delight. While the synchronised dance moves could seem a little staged and cheesy, the polished way they pull it off, totally deadpan, locked into the beat, in their amazing outfits makes it seem incredibly cool.
Mark Speer’s strong Texan accent brought people back to earth, as he introduced the band, said how nice it was to be in this beautiful place with all us beautiful people, and encouraged us to strike up conversation with the strangers next to them.
The charming banter was minimal though, as they let the music and performance do the talking. With many great tracks to choose from, having released their third album Mordechai in 2020, the bands enigmatic presence is undeniable. They work with a diverse sonic palette and back it up with the chops – their songs sounding even better live than on record.
They leaned into the deliciously groovy August 10, Lee showing her funky fingerwork on the bass part, and sweet harmonies with Speer. Their infrequent, subtle vocal parts that often contain no words, add another dimension to their sparse, minimal sound. It took a few songs to settle into their hypnotic groove, but once they lock in, you’re transported to another world.
Only just a couple months ago, Khruangbin collaborator and fellow Texan, Leon Bridges played the same stage, and brought similar style and sophistication to the space. While Leon played a couple of their collabs, Khruangbin lacked the vocalist, so focused on their own extensive catalogue – one can only dream they may one day tour here together.
The intro of So We Won’t Forget drew cheers from the crowd and was possibly highlight of the night – one of their best songs, it’s a catchy, upbeat and harmonious tune that features some of Lee’s best singing, with probably the most lyrics ever featured on a Khruangbin track. Those who’ve seen the video clip also know it packs an emotional punch that is hard to forget.
The soft slinky beat of Lady and Man moved into the more upfront groove of Evan Finds the Third Room, one of their breakout early tracks, featuring an emphatic and repeated “Yes!” from Lee.
Their own songs would have been more than enough, but what truly made the gig next-level special, was the epic medley they launched into. Something they are known to do, but they cleverly customised this one for Australia – kicking it off with the dramatic riff from INXS’ Never Tear Us Apart – in tribute to the fact last week marked 25 years since Michael Hutchence’s tragic death. It was an emotional moment, but they didn’t let it last long, as they suddenly dropped into the classic Back In Black riff from AC/DC, drawing cheers and woahs from the crowd impressed with the deft musicality.
Like a great DJ mashing up your favourite tracks, they took us on a trip through some 90s hip-hop and other classic riffs, which the three-piece seemed to replicate so easily live, blending them together. Importantly too, they were acknowledging the actual musicians who wrote the original riffs, as much as the 90s producers who sampled them to create their hits.
The dramatic sounds of Pharoahe Monch’s Simon Says got everyone fired up, before they kicked into some more INXS with a smooth rendition of Need You Tonight’s classic riff. Next thing you know they were droppin’ into Ice Cube’s It Was A Good Day – or rather The Isley Brother’s classic riff from Footsteps In The Dark – so many old school rap tunes used classic soul and funk samples.
Likewise the band jammed out the groove of Leon Haywood’s I Want’a Do Something Freaky To You (famously sampled in Dr Dre and Snoop Dogg’s Nuthin’ but a G Thang). Hearing these classic riffs flawlessly recreated live and mixed together was truly impressive and exhilarating, while DJ’s seamless beat shifting between songs was casually brilliant. There were more mashups than Jive Bunny!
There were nods to Warren G and Nate Dogg’s Regulate (which sampled the funky ass riff from Michael McDonald’s I Keep Forgettin’) and PM Dawn’s Set Adrift On Memory Bliss (which infamously sampled Spandau Ballet’s True), before they suddenly segued into the classic riff from Chris Isaak’s Wicked Game, playing it perfectly, as the crowd hollered.
There was more medley mayhem as they showed their surf rock influences with Dick Dale’s Misirlou, also known as the Pulp Fiction theme, blended into The Sugarhill Gang’s Apache (Jump On It). Crystal Waters’ classic Gypsy Woman and Haddaway’s 93 hit What Is Love even got the Khruangbin treatment. They also delivered their awesome version of Kool & The Gang’s Summer Madness, and lifted things up another level with a rendition of Tina Turner’s What’s Love Got To Do With It featuring an impressive guitar solo from Speers. It was a veritable tour de force of the 90s!
The band seemed to truly be enjoying themselves too, Speer and Lee raising shots to the crowd between songs, before a magnificent finale of Maria Tambien. The crowd went crazy as they left the stage – they were certainly not going to let them leave yet, and soon they re-emerged. DJ and Speer slid back on first, then Leezy appeared to enraptured cheers from those who had noticed she’d changed into another incredible, sparkling, colourful outfit with long white boots. They kicked back in with White Gloves, one of their most beautiful numbers, with not one, but two disco balls spinning and shimmering light into the trees.
Time (You and I) with its fitting refrain, “If we had more time, we could live forever” was a snappy number, before they ended joyously on the upbeat People Everywhere (Still Alive), Speers again showing off some fancy fretwork. Big DJ stood up behind his drums, raising his arms to huge cheers, then pointed to Speer, drawing more cheers acknowledging the virtuoso guitarist, but the biggest cheers were saved for last, as DJ and Speer both motioned to Lee, the bassist and chanteuse seemed genuinely flattered.
It’s a shame we didn’t get the full stage production with their huge custom podium, which was seen at their three sold out nights at Sydney Opera House, but the fact they are so captivating despite the minimal production and vocals is testament to their greatness. With a “thank you so much” they exited the hazy stage into the darkness. Speer walked offstage still strumming his guitar – washed out, reverb-soaked chords, which suddenly morphed into the classic, unmistakable riff from Crowded House’s Don’t Dream It’s Over. A final magic trick. (Khruangbin had just played at Harvest Rock festival in Adelaide, before headliners Crowded House).
Indeed it was like a dream, but now it was over, much to everyone’s disappointment. No one wanted to leave Planet Khruangbin. One of the most exciting and enigmatic acts in the world right now, this band are a joy to witness and impossible not to love, and Freo fell for them hard on Wednesday night.
ALFRED GORMAN
Photos by Jackie Lee Young Photography
