Paul Dempsey
Workers Club, Fitzroy, Melbourne
Tuesday 21st July

One of the hazards perhaps of being a successful songwriter, is that it makes it difficult to hang on to your artistic compass. When a room full of people are shrieking wide-eyed at your mere presence, it's a given they're going to respond to your songs. It would be hard then, on the artists part, to gauge the true worth of a set. When you evoke roars of approval by smiling and saying hello, how do you know if your middle eight on the fifth song kinda drags?

It's testament then to Dempsey's songwriting chops and dedicated exploration of his skills that even after a decade plus of penning tunes, the fans keep on coming back for more. Actually it's hard to think of an Australian singer/songwriter, that, on a Tuesday night in Fitzroy, could have fans lining up nearly three hours before showtime, including some dedicated souls who have travelled from as far away as Canberra. (For example we accidentally found ourselves in the front bar of a "secret" Pete Murray show at a similarly tiny Melbourne venue a few weeks ago. It certainly wasn't sold out).

There's more than a solo career being re-introduced to the public tonight. The Newtown Workers Club (though apparently after some confusion it's just being referred to as 'The Workers Club') is getting another lease on life after, it's fall from grace as the Rob Roy. As the go to hangout for stragglers and indie riff-raff after the close of the Punters Club way back when, the hey day of the Rob Roy saw a full house sign up most weekends regardless of the band playing - not to mention sets by the likes of M Ward, Microphones and Lou Barlow atop its hallowed carpet. After a long period of inaction the pub is back under the auspices of Jerome Borazio of St.Jeromes infamy, and while much of the new decor still seems like it's been hauled over from the other side of the river, and the front bar is still haunted by the ghost of the sports bar the Rob Roy poisonously became, the architecture of the place - the slightly larger, crystal sounding bandroom and the new smoking courtyard in particular - still makes it one of the cities best small venues.

So it is that Dempsey arrives on stage before a painted wall fresco of a forest of trees, facing a packed sea of similarly sentient beings still blinking at their good fortune of making it into the room of 200 people. First single 'Out the Airlock' opens proceedings and sets the tone for the rest of the night; hushed reverence followed by whoops of applause and a good natured barrage of song requests. The man's new backing band arrive on stage and set about fleshing out the new songs. Made up of the rhythm section from Dallas Crane - a stoic Shannon Vanderwert and Pat Bourke on drums and bass respectively, as well talented mult-instrumentalist John Hedigan - the new band are good. Understandably tentative at times and with a few "flourishes" that perhaps aren't on the record (where Dempsey played all the instruments himself), but a solid unit for Dempsey to project from. Especially considering they've all only "learned the songs in the last five days".

Most rewarding tonight, regarding these new set of tunes from his upcoming Everything Is True release, is Dempsey's vocal dexterity. There's some gorgeous falsetto and many of the songs are carried by complex vocal runs; particularly when matched with Hedigan's keening back-ups. There's a colour running through this folk-based music that isn't so prevalent with SFK. The spectre of his main band looms large, sure, but viewed as if from a refreshing new angle.

Dempsey tells the audience that tonight's "just a rehearsal". As if to make it clear the band play a series of covers over the course of the gig, as if still gluing together their disparate backgrounds. Michael Jackson's 'Billie Jean' is surprisingly awesome, as is a tough 'Cinnamon Girl' (Neil Young) and a rollicking 'Tombstone Blues' (Bob Dylan). Gillian Welch's 'Wrecking Ball' and Kim Carnes 'Betty Davis Eyes' both get an airing as well as the ubiquitous 'Pinstripe' from Something For Kate's debut Elsewhere For Eight Minutes to close out the night.

All in all Dempsey and Co. seems pleased with this "rehearsal". And maybe more pertinent, so too the rabid faithful in attendance.

(Pics: Matthew Miller)