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05 June, 2008
Jetty Album Re-release, Masonic Lodge Port Chalmers 25/3/08
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Powertools Records has a long history of championing the underground underdog with no finer example of their release of The Puddle's Songs For Emily Valentine getting to see the light of day after more than ten years of being buried from view and its existence almost forgotten. And in that vein, Jetty get another shot with the re-release of their 1998 album Soundtrax for Modern Heartbreak on Powertools, putting on a showcase with a shitload of other local performers to boot.

It's quite refreshing to have a sign posted at the doorway listing the acts playing over the night with expected performance times and indicates that this is going to be a bit more organised than Dunedin is usually used to, no 10-ish (or 11-ish) starts here. Plus there's a veritable array of music to purchase once you're in the door, lovingly displayed and overseen by Andrew, Mr Powertools himself.

Managing to turn up just late enough to miss Darryl Baser, the opening act, it isn't long before AJ Sharma shuffles to the front of the hall, the very picture of shyness and withdrawal. His songs seem full of yearning and sorrow, each a short vignette deeply felt by the author. The relaxed atmosphere that is a staple of the Masonic Lodge is once again in evidence with small children happily making the most of being able to run around and dance to the music, somewhat incongruously with the melancholy sounds created by AJ Sharma but charming nonetheless. It's particularly charming when the under fives join in calls for more and keep doing so even as he delivers a thirty second a capella song, almost a nursery rhyme in its delivery.

His set is only about fifteen minutes long and then it's time for Sandra Bell with the help of a solid drumming accompaniment. She also has a release of sorts at this gig, a mini CD split single with Robert Scott available on the door amongst many many worthy releases that Powertool Records has helped produce over the years. Sandra Bell has an air of the gothic about her music but this doesn't prevent the youngest in the crowd dancing like it's the local disco.

Robert Scott is next up, accompanying himself with guitar and joined by Mike McLeod of Alpha State with a minimal, unobtrusive drumming style. Opening with a song called Supernova Robert Scott seems to be in a more sombre mood of late, signature gentle guitar strum and down-home vocal style intact. A short set of countrified folk follows, including a version of the new Bats single Crimson Enemy. All in all it is a well received set of warm and familiar songs, no great surprises, just quiet appreciation.

Nadia Reid is instantly arresting, forgoing the acoustic guitar she has slung behind her and performing her first song completely unaccompanied. With a rich voice and such confidence she has instantly captivated the gathered crowd and proceeds into the set proper with a style reminiscent of the more mainstream female singer/songwriters prominent in the past few years.

Alpha State is a fluid beast, tonight the band consists of main man Mike McLeod backed by violin and slide guitar, the missing rhythm section serving to dial down the drama and tension and accentuate the melancholy. Songs like It's Okay to Cry are fraught with fragility, haunting and delicate. Their style of country is heartfelt and at times incredibly beautiful, requiring real attention to appreciate, something not always possible in these settings.


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