Since releasing their debut album Other Voices, Other Rooms Melbourne’s The Getaway Plan have basked in the acclaim of national critics. Promoted by radio stations across Australia whilst frequently appearing on Channel V it does not surprise that crowds on their Where The City Meets The Sea Tour are expected to fill club venues across the country. Supported by Closure In Moscow and Goodnight Nurse, their underage afternoon show was taut with anticipation.
 
As Goodnight Nurse left the stage, the crowd lingered in the Hi-Fi Bar’s descending pit whilst the stage is set for the headlining act. Unsettled, they began jeering the roadies wandering across the stage, demanding the beginning of the set.

Black sheets were then drawn from the Hi-Fi Bar stage to unveil modest decorations. A large back-drop and two square, canvas squares emblazoned with the artwork from Other Voices, Other Rooms are lit to shadow across the stage, which was soon cast into fractured light as an instrumental track ascended to introduce the band. Strolling casually onstage, guitarist Clint Splattering, bassist Dave Anderson and drummer Aaron Barnett found their instruments whilst the crowd tolerated torturing anticipation.

Singer Matthew Wright then leapt toward his microphone, greeted an enthusiastic applause.

Wearing a feathered headband and red war-stripes, he thanked the crowd before launching into The Tempest, allowing the song to lead powerfully into Streetlight – the first single from Other Voices, Other Rooms. Before bellowing an introduction to Splattering’s solo, a keyboard placed before Barnett’s drum-kit allowed Wright to contribute to the melodious interlude of the song – demonstrating that the band have successfully progressed from previous ‘track-by-track’ performances.

The feebler of titles from Other Voices, Other Rooms - A Lover’s Complaint and New Medicine - achieved their intended purpose within the crowded venue - performed and received with an overwhelming energy.

Though tailored to please purchasers of Other Voices, Other Rooms, the set-list offered appreciation to elder fans during performances of retired titles. Opaque, though unfamiliar upon many ears, gathered delighted applause from those versed in the deafeningly chanted chorus. The New Year, a title also absent from recent shows was another return welcomed by the crowd.

The rhythmic thrashing of both Wright and Splattering was occasionally shared by Anderson throughout the evening; their enthusiasm encouraging fans to become animated for the cameras filming for a future DVD release. Barnett also delighted behind his kit – the skilful flicking of his drumsticks gathering the attentions not captured by his band mates.

Settling to conclude the evening with charting title Where The City Meets The Sea, the band strolled from the stage to be demanded back for an encore. Though it was suggested they play Ashes (A Different Kind Of Mess) by a vocal sect of the crowd, all were incredibly satisfied by an ascending performance of Rhapsody On A Windy Night.

The afternoon concluded with a resonating demonstration they are no longer the generic ‘screamo’ outfit they were predicted to become.

By entwining their past genres with their present tendencies, The Getaway Plan can be predicted to have a very amazing future.

Click here to check out TGP and the scene competition winners aboard the Flight Experience simulator in QV, Melbourne.