Courtney Barnett

The Ballroom is an historic place, and you're reminded of it as you descend the stairs into the venue. To the right The Smiths, to the left, The Killers, Blur and the rest. Its a bonafide stepping stone to greatness; not every band that played here made it, but many of them did.

And so to Courtney Barnett. If you've opened up a web browser recently then you'll have seen the adverts. Or at least, if the ad networks have you lined up as a music fan then you've seen the ads. And if you've heard the record, then you know that she's getting rave reviews for her deadpan delivery and poppy but sophisticated sound. She's every bit the Aussie Hoxton hipster with a guitar and a plaid shirt, right?

Actually, wrong. She hits the stage as a three piece. No surprise really, its difficult and expensive to tour with a big band, but you get the feeling that this is how she likes to play. And the band is tight, really tight. They've been touring a while, and no doubt they've been playing together for even longer and it shows. This isn't a pop group, this is a kick ass rock and roll band, and believe me, I mean kick ass.

The opener Elevator Operator is delivered with a thumping backline and Courtney's trademark back hand delivery. The band moves on to a couple of tracks that speak of months of the road, and a band playing together day out and day in. And that's where the depth of the band comes in, this isn't a pop band. For references, think the Pixies, Inspiral Carpets, psychadelic garage rock, early Blur.

And this is all a good thing. I've seen too many bands on stage with a keyboard and a mac computer mixing as they go. Making the ordinary bland, in real time while you watch. But this is real music, a real band, and a real emotion. And it gets you going. Properly.

The tracks from the album are gratefully received by an appreciative audience.'Small Poppies' works better with the small band on stage than it does on the album, and it gives them full licence to rock out as hard as they can go.

'Depreston' gets a loud cheer, and a heartfelt singalong for the chorus. If we had half a million, then we would, you know that. You know we all believe it too. 'Debbie Downer' is every bit Blur playing 'There's No Other Way' in 1989, and the audience go appreciatively mental.

And so, to the encore. I often think that when you're starting out you ought to have a cover in you. I've argued this point many times; if people don't know you, sometimes its worth giving them something to place you by, to give them a reference to locate themselves.

In this case, Courtney has 2, and they are both killer. First up is 'Being Around' - a classic from the Lemonheads, but solo Courtney gives it a heartfelt beauty and depth that surely Evan Dando would appreciate.

Next up is the latest single, 'Pedestrian At Best' to a suitable roar, and finally a cover of the Breeders 'Cannonball'. A good choice, and delivered brilliantly; its a sign of quality that you can add something to a classic like this.

And we leave, happy, and rocked. This was not the Pop Band that people expected - it was better than that. It was harder, tougher, deeper. It was better. It was rock and roll. And we liked it.

And when we go back to the Ballroom in the future, we'll look up, and maybe we'll see a picture on the side of the stairs, with the caption 'Courtney Barnett, 10th April, 2015'.


@courtneymelba