WILLIAM Crighton made a perceptive comment when introducing his band last Friday night at Newcastle City Hall.
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After getting through his latest additions - Preachers drummer Luke Davison, ex-Kasey Chambers bassist James Haselwood and acclaimed didgeridoo player William Barton - Crighton finally came to his wife and backing vocalist, Julieanne.
"Julieanne is the pilot of the whole thing," Crighton said.
While Julieanne has long been a songwriting collaborator for her husband and her ethereal backing vocals have been an essential part of their stage act, her importance has increased over time.
She's the yin to his yang. The light and softness to Crighton's dark, and sometimes unsettling, intensity.
When Crighton is spinning tales of small town suicide (Riverina Kid) or bloody convict history (Killara), she provides a haunting harmony, like ghosts riding the wind through the eucalyptus.
Friday night's gig for Great Southern Nights was Crighton's first in the Hunter since COVID-19. The crowd was certainly below expectations, but those in attendance were the true believers.
Blue Mountains folk and roots artist CJ Stranger opened the show and later joined Crighton's band on guitar for several songs.
One of the pleasures of seeing Crighton live is the unpredictability. His set is always in a state of flux. Sometimes it's alt-country Crighton. Sometimes it's folk Crighton. City Hall were given Crighton in a full throttle blast of rock.
The new rhythm section of Davison and Haselwood allowed for a more primal energy, especially on Jesus Blues, Happiness and latest single My Country. On the latter Crighton's face was tortured with intensity as he roared with disgust at the inaction of Australian politicians in addressing climate change.
Barton's influence on the performance was also telling. He first joined Crighton on Mr Brown, which he performed on a grand piano.
The result was a far more compelling version than the album cut on Empire due to Barton's flourishes of rhythmic didgeridoo. Crighton then delivered a quicker version of Morning Song and appeared genuinely moved to be playing such a piano.
"I wish they'd tuned that piano," Crighton joked. "It sounded like I was hitting a few bung notes."
The highlight of the evening, however, was the epic new track Killara. In a performance that whet the appetite for album No.3, due in 2021, Crighton and his band led the audience through a psychedelic convict ballad which built to a thrilling climax.
Priest, Woman Like You and Love Is Hard To Find were curious omissions from the 11-song set, which was limited by COVID restrictions.
Despite this, it was tense, passionate and thought-provoking. Exactly what we've come to expect from William Crighton.