Kirin J Callinan
22nd August 2019
Galatos, Auckland, New Zealand.
Review by Sarah Kidd. Photography by Connor Crawford.
Provocative, adroit, perspicacious, intrepid…
Adjectives, one and all. Adjectives that orbit around Australian musician Kirin J Callinan with the greatest of ease, his persona the very gravitational pull that draws them into his epidermis where he wears them with grace.
It has been two long years since the performer that many have referred to as the Bowie of our generation has graced a New Zealand stage, and once again it is during the heart of winter; this tour seeing Callinan as the lone wolf.
The evenings proceedings began under the veil of blue, Dunedin band Marlin’s Dreaming dusting the venue with their own unique brand of surf rock that certainly had elements of atmospheric dream-pop and downright shoegaze mixed in; Semisi Maiai’s at times beguiling vocals the quintessential accompaniment to the music they were creating.
Founded in 2017, the quartet already have a piquant album and EP to their name, their single ‘I’ll Stick by You’ introducing their set to the attentive crowd; ‘Need You’ a nod to their first release Lizard Tears. Maiai’s self-deprecating comments about playing guitar ushering in the hypnotic ‘Cheeky Kids’ that would appeal to lovers of acts such as Portugal. The Man.
Joining Callinan – an artist that they are self-confessed fans of – for the entiriety of his New Zealand tour, Marlin’s Dreaming are also sneaking in some headline sideshows of their own here and there, tickets selling out before the ink has even had time to dry. Their closer ‘Mellow’, drenched in 90’s apathetic spoken word stylings escorted Marlin’s Dreaming from the stage, leaving behind those who have taste with a wry smile painted across their lips.
Stripped and left almost barren, the stage now held little more than a mic, lovingly wrapped peddle boards, set in a triangulated pattern and a hot pink guitar perched upon its stand; the entire purposefully arranged ensemble bathed in red as Kirin J Callinan stepped onto the stage, his lithe figure encased in crisp black pants and a camo jacket, a red beret perched atop his head, his entrance hailed like that of the conquering hero.
The last couple of years have been a testing time for Callinan, drama, memes and controversy thanks to the flashing of his own appendage on the Aria red carpet seeing him both issued with a twelve-month good behaviour bond and removed from Laneway’s line-up.
His last album Bravado had seen Callinan full of just that, his antics and public titillations spiralling out of his own control and seeing him vilified by the media, and more heartbreakingly for Callinan by the communities he loved. He has publicly apologised and admitted regret for his spontaneous decision, his latest album Return to Center a covers album that communicates and conveys themes and messages that he deeply identifies with.
Taking it back to more humble beginnings ‘Mary’ began his solo performance, Callinan channelling a Nick Cave darkness, audience members transfixed by this creature before them that moved in ways that could never quite be clearly articulated. ‘Pretty Boy’, ‘My Moment’ and ‘Embracism’ a song that explores toxic masculinity – a topic that Callinan has undoubted experience with due to how he has chosen to both portray himself and his art, the term genderfluid unavailable to him in his formative years – all follow close behind, culminating in an impressive guitar toss that Callinan doesn’t quite execute. It momentarily flusters him, a fact that he digresses to the audience in quiet denunciation.
The moment is put to the side, the jacket removed and with ‘Life is Life’ the show truly begins, an evening soiree that incorporates music, song, repartee and anecdotes charming, titillating and evoking Callinan’s enraptured fans.
His cover of ‘The Whole of the Moon’, complete with the foot work of a flamenco dancer is as uplifting as it is heartbreaking, the song bending into Callinan as he does to it; stories of recently acquired haircuts, rolling the car of a former fellow high school attendee who just happens to be playing up the road (Angus Stone/Dope Lemon) and why his guitar tuning issues are down to the fact that his gear had been stolen, swirl in the air, the intimacy of his words delivered cocooned in husky overtones.
If you could only ever experience Kirin J Callinan live once, this would be the tour to do so.
A cover of ‘The Homosexual’ by Momus is followed by an exceptional version of Public Image Limited’s ‘Rise’ that is interspliced with commentary from the news reports of Callinan’s exposure; “I could be wrong…I could be right…” he laments. Confessing to the audience that he has nightmares of playing to an empty room and that to overcome them he must face his fears, Callinan orders everyone downstairs to the backstage area in single file while he evocatively croons ‘You weren’t in Love with Me’. The audience complies and are rewarded with a rousing rendition of ‘S.A.D’ by a shirtless Callinan as he joins them moments later.
Leading his cavalcade of disciples back to the stage, the EDM stylings of ‘Big Enough’ splash against the ceiling, Callinan wrapping the mic cord around his neck and performing Jimmy Barnes’s screams with an unbridled glory, the meaning of the song not lost on those who follow. ‘The Toddler’ a closing triumph. Callinan giving thanks before stationing himself at the merch desk as he has always done in order to spend time with his admirers.
Provocative, adroit, perspicacious, intrepid…
Artist.
Were you there at Galatos for this amazing art-pop gig? Or have you seen Kirin J Callinan perform live somewhere else before? Tell us about it in the comments below!
Setlist:
- Mary
- Pretty Boy
- My Moment
- Embracism
- Life Is Life
- The Whole Of The Moon
- Bravado
- Landslide
- The Homosexual
- Rise
- You Weren’t In Love With Me
- S.A.D
- Down 2 Hang
- Big Enough
- The Toddler
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Better performer than most musicians and funnier than most comedians. He’s an act that you just can’t shut up about for the next week or two.