By Patrick Whatman, Wellington music aficionado

Friday the 21st of September saw me heading out to Wellington’s San Francisco Bathhouse for a show that I had been anticipating for some time. OdESSA were celebrating the launch of their new album The Prize with what can only be described as a party, fiesta or indeed bonanza.

As a rabid OdESSA fan, impartiality may not be my strong-suit, but who cares?

The show kicked off with The Thomas Oliver Band, a three-piece who perform interesting blues-rock, if owing quite a lot to Dave Matthews and Ben Harper. I arrived a little late, and only caught the end of their set, but it seemed that the crowd had sure enjoyed it. By the time they had finished, there was little keeping the masses contained.

OdESSA played a solid hour-and-a-half set, beginning with the first song on The Prize “Bleeder”, and culminating with the new single “Motel Machine”, preceded by a brief, ironic, pseudo-encore-style break. A testament to the performance and its atmosphere is that two hours after the show ended (3am by then), much of the throng remained. It was then that I was able to make the most of my friendship with band-members, and partied like that kid in “Almost Famous”. That might be an over-exaggeration.

OdESSA were pleasantly strengthened by the presences of Miles Crayford and Anna Walles on organ and vocals respectively, reenacting the roles they were given during the recording process on The Prize. Just that little bit of extra musical backing gave the band the boost they deserved, and the crowd definitely appreciated it.

As for the album itself, it must be clear by now that I like it. Listening to it while writing, I’m thrown back to that Friday evening, such is the quality of both the band’s live performance, and the ability of Mike Gibson and David Long to condense that same performance for all to hear. It is very much like listening to the work of James Brown or Jimi Hendrix, in that you do feel thrust into the studio with the band, sharing the vibe. Of course, the link to James Brown is also evident in the style and sound of the music as well; the percussive grooves are certainly the engine room of what is essentially white-funk. Not in a Maroon 5, ‘Wish I was funky’ kind of way, more in a ‘student of funk’ sense. Most importantly, Matt Pender’s smooth glide and howling voice place the audience right on the Soul Train. Take it from me (and you don’t have to), they’re good.

Good band, good vibe, good night.

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