Architecture in Helsinki
The Bakery, Perth

There is little mention made of the music in this review. This is deliberate, but more importantly, valid. Music is only a fraction of the importance of performance – setting, character and plot enter into the live equation and matter about equal to the music. For example, in the face of a performer who, quite clearly, does not wish to be performing, what matter is the quality of the music? Little, I would argue, to none. Say hello to Cameron Bird in Perth.

Bird, Architecture in Helsinki’s singer, guitarist, and main songwriter, seemed preoccupied with passive aggressively blaming the crowd for his discomfort. He seemed barely able to hide his desire to be elsewhere as a stream of insecure, bitter condescension flowed from him. Most gallingly, he said, as if to rally us into excitement – as if a sold out Tuesday night following on from a sold out Monday night – wasn’t appreciation enough, “Don’t ever forget how hard it is for us to get to you.”

Mister, we are constantly, painfully aware of how hard it is for bands to get to us. We are reminded every time a band announces shows everywhere in Australia apart from Perth, even fucking Adelaide, the town we battle for the title of the least lame of the lame cities. However, an eager audience of 1100 laying down $20 each makes it a mite easier than most bands that make the trip over.

He also said, “The way I see it, when you come to a gig you leave your outside troubles behind,” and half-heartedly, already defeated, asked us to cheer louder. Perplexed, under the impression that we were already appreciative, we clapped and wooed on cue. Unhappy, unappeased, Bird left the stage, followed by his well-meaning bandmates, slightly, it seemed, embarrassed.

by Matt Giles