LIVE REVIEW: Cloud Control + Platonic Sex @ The Princess Theatre

Words by Kate Lockyer

Photography by Campbell Harris | @grainydaysmusicphotography

Indie industry veterans Cloud Control reunited under a cloudy sky in Brisbane last night at The Princess Theatre. 15 years on from releasing their first album, ‘Bliss Release’, and having been on hiatus since 2018, they have come back together to play through the record in its entirety, to the nostalgic delight of a sold-out theatre, full of millennials.

A sidebar on The Princess – I’ve done a history tour of the venue by a fabulous local historian by the name of Robert Allen, and not only is the 137-year-old spot GORGEOUSLY refurbished and the green room actually living up to its name with a beautiful green velvet lounge, but its history is fascinating and worth a read. Plus, it’s nice sometimes for us southsiders not to have to trek all the way into the valley for our music fix.

Brisbanite alt-rockers Platonic Sex kicked off the night with a captivating mix of punk and personality, the band comprising Bridget Brandolini, Ryan Hammermeister, Jane Millroy and Jessica Cameron. They presented a very different front to Cloud Control, but in a sense, their youthful rebelliousness paved the way for the calm acceptance of Cloud Control’s ‘Bliss Release’. Characterising Platonic Sex are fuzzy guitars, solid rhythms, and unaffected vocals that are nonchalantly imperfect, giving the impression they form a hotwire between the consuming emotion of the lyrics and the world.

We got a first performance of Easy, freshly released on the day of the gig. The contrast in the disarming simplicity of the low part, “I could spend forever waiting in the ether”, a melody like a child’s rhyme, with the sweetly sung higher part “easy” chiming in over the top, was catchy.

Other highlights of their set included my favourite, Hanging out the Window, and Devil’s Advocate. Hanging out the Window painted an exquisitely bittersweet picture of a breakup, thinking of all the points where they wished things could have gone differently, performed with a real emotional presence, especially in the beautiful, melodious chorus and the awesome guitar solo.

Devil’s Advocate was also fantastic, but for different reasons – to dismantle the patriarchal system, you’ve gotta tackle mansplaining as well, and Platonic Sex have written an anthem on the topic. Moving from a pseudo-sarcastic soft pleading to standing up against the “devil’s advocate” with crashing drums and a good ol’ belt, they sang: “I’m not sure why you’d think I’d owe / You a grain of my attention / I think you oughta think about / Beggin’ for redemption.” I can just picture all the occasions I’ll be listening to this to drown out certain men…

Having cathartically let out all our angst with Platonic Sex, we were ready to seek a higher plane with Cloud Control’s debut album, but not before they had played a few bangers to warm us up. For most, this gig was a trip down memory lane, but as an elder Gen Z, I sadly have to confess I hadn’t listened to them until preparing for this gig. For me, that meant my delightful intro to their music has been as part of the warm ease shared between a crowd of long-time followers and long-time bandmates.

Dojo Rising, their first song, has to be the most chilled out delivery of the lines “Give it to me easy / Give it to me hard / I just wanna get, get, get lit, yeah” I’ve ever heard. It sounded like they should have been jumping up and down and on hard drugs à la some classic rock band, but instead they were casually nodding along and harmonising. Love that for them. If we weren’t already blinded by their musical talent, the stage lighting would have finished the job, shooting out piercing rays of bright white light into their audience.

Entertainingly, it seemed they had not come to this tour with a collective agreement on wardrobe choices. Each person looked like they came from a different sub-culture – except for perhaps the Lenffer siblings in all black, though Heidi rocked a sleek sheer black blouse and trousers while Ulrich sported a simple black tee. Ulrich had gone formal with flair in a suit and funky red button-up, while Alister went for the casual but iconic millennial muso look of long sleeves under a tee.

Cracking on with tambourines and some beautiful multi-coloured stage lights, the twang of the guitar prompted “whoos” from the enthusiastic audience as they began Rainbow City. The Smoke, The Feeling concluded their opening set with the stroke of metallic guitar, echoey harmonies from Heidi and calming synth washing us up on the shore of ‘Bliss Release’.

As a buzzy drone started, Alister introduced the album, saying he wanted us all to take a moment to ground ourselves, and also sharing an acknowledgement of country. Meditation Song # 2 (Why, Oh Why) put us in good stead for the rest of the album by consolidating that grounding Alister mentioned. Harmonies like a balm, and Jeremy whirling around as he plucks on his bass, mouthing each word.

Iconic track, There’s Nothing In The Water We Can’t Fight had the audience super involved, cool-toned blue and white lighting floating over us in the chorus as they sang about the water and dramatic drums keeping us all tapping our feet.

Ghost Story saw Jeremy accompany Ulrich with the bouncy percussion, jumping on a big drum as we all listened intently to the narrative, as they questioned our place in the universe (or maybe that was just me??). Chilling and yet upbeat stuff!

Gold Canary felt like the answer to the turmoil of Ghost Story, as they landed on the conclusion that there can be acceptance and freedom in the world. The crowd sang along under gold and purple light – and then yellow and blue light. The synth instrumental section felt like the canary’s song to us.

They paused to acknowledge some of the awesome Brisbane venues that played a part in their early story – The Zoo (given a new lease of life as Crowbar), The Tivoli, and even Ric’s Bar.

Cloud Control then segued into some of their carefree folky tracks, with a heavy and cheering use of Heidi on the tambourine in This is What I Said and a simple drumbeat, like a heartbeat, paired with steady harmonies in Just For Now.

After playing The Rolling Stones, which featured an energetic bridge, they gave a shoutout to their mates from The John Steel Singers who had come along to the gig. Heidi mentioned how they were one of their favourite bands and had inspired them to rock n roll. Alister set the record straight with some friendly banter, saying, “Hang on, I thought we taught them how to be a rock band!”

Hollow Drums was next up, as per the album, a stark spotlight focusing on Alister, who picked up an acoustic, and Heidi chiming in with gorgeous harmonies for the tender ballad. Endearingly for yours truly, who forgot her own lyrics last weekend, Alister fumbled for a moment with the lyrics, and the crowd gently and softly sang along in aid. It was actually a really sweet moment, and the two shared a hug afterwards.

Finishing off the album with My Fear # 2 and Beast of Love, they departed the stage for the encore, and after a heartfelt cheer from the audience, they popped back out for a five-song finale. During this section, they thanked Platonic Sex for their great set, and dedicated a song to “that guy right there, in the cap, with the Cloud Control T-shirt, circa 2013”.

They pulled out their grooviest tracks for the last hurrah. Among Promises, Panopticon, Scar, Treetops and Dream Cave, my favourites were those off the Dream Cave album, still earthy and earnest, while Panopticon and Treetops get sleeker and more electronic-sounding. Finishing with the love song Dream Cave felt like a final note to their fans, still ready to come out to a gig seven years since they disbanded. “All I can do is dream of you darling / I’m in a dream cave”. Thanks Cloud Control, we’ve been dreaming of you.