Describing the music of Dirty Three can be a challenge. Labels like noise-rock, experimental jam band, drone, or even jazz could all be applicable ways to categorize the Australian outfit, but the most common one is probably post-rock. However, even that term is a bit tricky. They don't sound like Sigur Rós or Explosions in the Sky, they're not as rhythmic as Tortoise, but there are times when they rival the epicness of Godspeed You! Black Emperor. No matter how you want to classify their sound, to witness one of their live shows reveals a whole new kind of experience compared to how they come across on their recordings. Currently, the band is on their first North American tour since 2012 and on Friday night, they made their first appearance in New York City since 2009. Needless to say, they made up for their absence over the years with a mind-blowing set that last for nearly two and a half hours and reminded everyone in attendance why we loved them in the first place. As the lights dimmed in the massive open hall of Pioneer Works, "Lido Shuffle" by Boz Scaggs began to blare over the speakers and the mighty trio took to the stage to rapturous applause. Taking his spot behind the kit, Jim White settled into position on drums while Mick Turner picked up his guitar and began to warm up the crowd. Yet it was Warren Ellis' entrance in a shiny silver puffer jacket and massive sunglasses that really got the roar from the crowd. As he removed his coat to reveal a black t-shirt that simply read ELVIS in sparkling silver letters, things only intensified as he hollered at the crowd and pumped his fist with excitement. From this early moment, it was clear that the band were primed and ready to eviscerate the crowd with their mighty jams of incendiary rock music. Hitting us with the first few tracks from their most recent album, 2024's Love Changes Everything, their droning tunes filled the hall up with ambient noise as Ellis moved between violin and keyboards to help deliver their eerie and haunting tunes. Jacked up with passion, Ellis would pick up the microphone between songs to interact with the crowd, proclaiming his joy of being back in Brooklyn and at the esteemed Pioneer Works while occasionally giving advice to the audience such as, "if you're gonna start a band at 60, never practice. Just show up and do it" which was received with emphatic cheers from the crowd. As the band progressed, Ellis turned the show into a resurrection, perhaps for the timeliness of Good Friday and upcoming Easter Sunday, but more likely because that's just his general vibe. He spoke of bringing back artists from the dead, reviving their spirits for the show and channeling the energy they delivered while they were still on Earth. He called for the return of Lou Reed, Sinéad O'Connor, Johnny Thunders, Sid Vicious and more while reflecting on the joys of being alive and making the most of the time we have while we're still here. It could've been a corny moment, but his passion spread over the room and soon he was talking about the love and loss in his life while White and Turner steadily kept the music at a hum behind him. Before embarking on "Indian Love Song," which he stated was the first song they ever wrote as a band, he asked for the audience to show pictures of their pets and made the song a tribute to those that had passed away. He spoke of his own dog's passing and how much it impacted him as well while also remarking that he got another one the day after his dog Steve died and that "if you think I look like a guy without a plan, you should see my girlfriend." Apparently she got two more to add to their pack. He dedicated "Sea Above, Sky Below" to the late Steve Albini, a friend of the band who recorded some of their best work and told them "when you walk into a studio, remember what you came here to do" which goes down as the best advice he's ever received while making music. The soaring track turned into a righteous moment as the music began to swell, ripping into his violin as White surged with flowing rhythms and Turner's guitar work moved like a spiderweb, slowing crafting extensive patterns that felt delicate and fragile despite the crushing volume. Ellis spoke words of wisdom about his battles with drug addiction and gave speeches of hope, reminding anyone in the venue who may be struggling that it can indeed get better and life is worth living. As they broke into "Authentic Celestial Music," he talked about how the song was inspired by lying on your back, staring into the cosmos, and remembering that in the grand scheme of it all we're nothing and to just enjoy life while we can. Digging deeper into their grooves, the band was firing on all cylinders by this point and it was clear that their decades of playing together has brought about a serious amount of trust and the ability to know just where each other are headed in these sonic journeys. While it seemed scrappy and raw, the band were somehow still so tight, their jams fitting together like a jigsaw puzzle that somehow worked in all the right ways, even when it seemed like things could burst at the seams. Whether it was Ellis plucking at his violin or howling through the pick ups, Turners wall of sound or spindling guitar, or White's minimal drumming that could erupt into epic fills, there was no shortness of grand and colossal moments that elevated the night towards the heavens. Dragging out their jams and building such towering moments was a stunning thing to witness and as things came to an end, they slowly departed the stage one by one leaving Turner to stir up final moments of crushing guitar before leaving White to bring things home with a dazzling solo that could've been the highlight of the night if you were forced to just pick one moment. It was truly a very good Friday indeed.
Set list:
02 "Love Changes Everything II"
03 "Love Changes Everything III"
04 "Indian Love Song"
05 "Sea Above, Sky Below"
06 "Authentic Celestial Music"
07 "Some Summers They Drop Like Flys"
08 "Love Changes Everything V"
09 "Love Changes Everything VI"
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