Having performed already a handful of times in Canberra this winter, it was time again for Canberra band Hancock Basement to return to the Transit Bar. The Transit Bar was accommodating as ever and provided another evening of great music combined with that moody, underground atmosphere we love about it.

Opening for Hancock Basement was a new star on the musical horizon – Delta Riggs. It was the band’s first time in Canberra and they romped through their blues-tinged rock admirably. Despite the high levels of alcoholic consumption emanating from the stage, the band rocked out and ensured those who had arrived early would be satisfied.

Delta Riggs are a band with a sound that throws back to the 70’s rock sound, and my guess is they’ll definitely be playing bigger crowds in the future.

By the time Hancock Basement arrived on stage there was a small and well-behaved crowd waiting in anticipation. It was certainly a drastic change in atmosphere from the last gig the Canberrans did in the capital, at Groovin’ the Moo.

Over the past few months the quartet of musicians have been writing new material and a small handful of the new tunes found their way into the set.

Sadly for me it was a mechanically performed set and often felt like the band were on auto-pilot. Songs such as their self proclaimed ‘hit song’ Hey Kids resulted in the crowd being drawn in, but the set still felt as though it needed more drive.

It was not as though the band performed badly, there was just a missing spark in the performance. Perhaps it was the small crowd, or the lack of new material, but the evening began to feel increasingly hollow.

Hancock Basement are a very talented band, comprising of great musicians with great stage presence, but to keep driving forward they need to keep building on their aging set-lists.

Despite this criticism, the crowd enjoyed the evening and their reactions were entirely positive.

Hancock Basement is a talented local band and I am looking forward to hearing an entire set of fresh, new material soon.

Photos by Chris Whitfield

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