Movements & Boston Manor – Gig Review 17th March @ Lion Arts Factory, Adelaide SA

Movements
Lion Arts Factory, Adelaide SA
March 17th, 2023
Supports: Boston Manor & Glowing

"Poetry proceeds from the totality of man, sense, imagination, intellect, love, desire, instinct, blood and spirit together.” - Jacques Maritain.

Although the statement above from the world renowned French philosopher and author does not utilise the word: “Music”, “poetry” is undoubtedly an immeasurable part of the art form. As an alternate, let’s just imagine the first word of the quote is in fact: “Musical”. Certainly, this addition does narrow the context of the declaration, however, in the setting of the event where three different outfits from three different continents unified under one roof to a capacity audience - this is musical poetry sharing blood and spirit together.

Local quintet Glowing had the hard luck hindrance of a very early start to the evening, yet this did not affect their shine. Their alt-rock meets jangly garage indie fusion peaked the interest of the growing audience to a near instantaneous effect. New single ‘Pay The Price’ is a journey in itself, alternating between hip shaking Brit pop with punk attitude that the Arctic Monkeys would be proud of, but then intensifying into earlier Hundred Reasons assault. ‘Coming Home’ followed this formula to a degree, but with a great Gyroscope brashness to close out the number. Their loud/quiet/loud dynamic is incredibly immersive and the crazed cellist skills of Lucinda Machin is, in a word: “Astonishing". Let’s underline the words: “Intellect” and “imagination” from the opening statement shall we? That’s the incredible initiation Adelaide received.

As both headline bands were more than friends, in actuality, a “brotherhood" - it was almost a guessing game who might actually headline the show. After a few beats of the lustrous ‘Datura (Dusk)’ single, it became clear that the lovely British blokes Boston Manor were present to make their assault on Lion Arts Factory, but probably not wearing Red Sox.

There is no denying the marvellous myriad of “rock” sound this Blackpool-based quintet have utilised throughout their decade-long career - their experimentation is virtuous. ‘Foxglove’ showcased elements of Blackholes And Revelations era Muse with glimmers of Enter Shikari energy. 'England’s Dreaming’ fused 30 Seconds To Mars with Holding Absence, ‘Liquid’ sadly didn’t include John Floreani from Trophy Eyes, however the Adelaide attendees acted as the orchestra for the chorus parts, a “chorchestra” if you will. ‘Crocus’ would have You Me At Six dancing in appreciation, then ‘You, Me, & The Class War’, arguably the band’s heaviest song followed a BoySetsFire instruction and was the highlight of the exhibition - the wall of death amplifying this notion superbly.

The Brinkin Me The Parizon effect was unveiled during ‘Carbon Mono’ which was then turned upside down by the pop punk leanings of ‘Laika’ that featured the band’s OC brother Patrick Miranda (from Movements) as a guest vocalist, to a deafening uproar from the South Australian enthusiasts. To close, the anthem entitled ‘Halo’ which landed somewhere between the softer side of Linkin Park and the harmonies of Young Guns - in all honesty, the five-piece acted more like the karaoke soundtrack for this composition; the sing-along was that immense. The “sense” of “love” was immeasurable.

From Lancashire to California, it was time to add an earthquake of pop rock post-hardcore to the 'Friday (I’m In Love)' and this force was placed in the hands of Movements. As is rather well known, these five Golden State musical Warriors do not waste time in hitting their ball out of the park, and started by smashing their fastball with ‘Third Degree’. The evolution the five-piece have undergone since their 2015 inception, much similar to the progression Baltimore's Pianos Become The Teeth made from their brash screamo meets post-rock formula to an emotive alternative rock, is undeniable. Movements have undertaken a more melodic indie rock direction with pop rock sensibilities and there is no denying that they do it well. The whirling of 'Skin To Skin’ hypnotised the devotees, ‘Colorblind’ enhanced this but with thankfully a little more intensity and desperation.

'Cherry Thrill’ was an oddity that perhaps belongs on Emarosa’s Peach Club full-length - a funk pop number that although is an extension of their identity, it seems to be of a completely different DNA; Movements new LP due later this year could be an intriguing maturation. ‘Full Circle’ meandered to an extent, yet recaptured what the quintet are adored for and then ‘Deep Red’ brought a terrific Title Fight feel that invigorated the gravity of the event. ‘Kept’ was the victory, a track which aligns with more modern day Touché Amoré and to be frank, added a spirit to the production that was essential. ‘Don’t Give Up Your Ghost’ brilliantly followed a La Dispute instruction, however the pièce de résistance came with ‘Daylily’; the venue lights were switched off, the room was lit by mobile phones, the warm-heartedness of Lion Arts Factory was limitless; this wasn’t just a breathtaking ballad, it was poetry.

'Suffer Through’ revived the vivacity, the math-punk jingle harbours an unbridled potency - it is quite captivating. For a moment, it was rather easy to forget how much alternative music we had witnessed and the departure of each member one-by-one made it all the more theatrical. The “instinct” of requiring more was evident, but no encore was provided nor really required. The book had closed and our collective “desire” met.

In “blood and spirit” we were together for this short time and really, that is poetry.

Gig Review by Will Oakeshott. Insta: @teenwolfwill