self preservation society
Reviewed by: Tobias Handke
Published: 25 February 2011
ep: live at the wheaty
Releasing a live album is not something you would expect from a local artist, but then Tristan Newsome is no ordinary muso. The former member of Adelaide '50s rockabilly act The Flying Squad, Newsome now fronts his own solo project, Self Preservation Society. Taking influences from traditional songwriters such as Johnny Cash, Bob Dylan, Tom Waits and Paul Kelly, Newsome blends folk, roots, blues, county and even a little spoken word into his acoustic creations.
2010 saw the release of 3 EPs under the guise of Self Preservation Society, #42, Tamworth City Streets and Gone With The Wind, but the boy wasn’t finished yet. In an unusual turn, Newsome released Live At The Wheaty, a live album recorded as part of a Coopers Alive gig called Silence Can Be Like Thunder. With no editing other than the splitting up of the recording into individual tracks for ease of listening, the album is a remarkable documentary of a live show, with every bung note, clearing of the throat and background noise included on the disk.
Although Newsome’s 3 previous EPs together form a conceptual album, his songs are strong enough to stand alone on this live compilation, with the 11 track collection including material not featured on his previous releases. Opening with the Dylan-esque acoustic fair of “Firing Lines”, Newsome immediately draws you in with his confident voice, dripping with emotion and feeling, setting the tone for the rest of the performance.
From the country folk of “By The Water”, to the rollicking blues of “Blues In E #54” and the spoken word of “Lonesome Spring Evenings”, Newsome wears his heart on his sleeve with his visceral story telling. His talent even extends to other instruments; playing the ukulele on the country tinged “Stumbling Alone” and a newly purchased banjo on “Rattle My Bones”. His inner Dylan comes out again on the urgent “Make Room”, a tale about a man trying to escape the law that is fluid storytelling at its best.
The most disappointing aspect of the live recording is the general mood of the audience. As Newsome introduces himself and what he is about during the opening minutes, he is met with mute response, causing him to comment, "it’s not going too well", and you can sympathise with his reaction. Thankfully, as the performance continues and he shares stories with the crowd about the origins of his songs, they respond with greater applause, although it never reaches fever pitch levels. On the other hand, this live recording demonstrates that Newsome is just as comfortable in front of an audience as he is in the recording studio. While there is no doubting his extensive experience on the live circuit in Adelaide has prepared him well, it is the honest emotional quality of his voice that makes this album so likeable. Couple that with his intricate storytelling and Newsome stands out as one of Adelaide’s best singersong writers going around, with Live At The Wheaty the perfect starting point for anyone yet to marvel at the Self Preservation Society.
