Review: Tyler Richardson @ Crown & Anchor 29/03/25
We were there to witness Luca Brasi vocalist and bassist Tyler Richardson’s magical solo acoustic performance at the Cranker.
Words by Will Oakeshott
Image supplied
Tyler Richardson w/Alana Jagt @ Crown & Anchor 29/03/25
“Music is a healing tool.” - Rick Medlocke.
Unmistakably, these five worlds uphold a transparent truthfulness that could be compared to the idiom: “Laughter is the best medicine”. Undeniably, one would be extremely hard pressed to attempt to deny the therapeutic values of firstly, this amazing art form, then also, the pleasant physical reaction and emotion.
So, imagine having both of these remarkable remedies coalesce at one intimate event in front of a packed crowd at the beloved Crown And Anchor.
Forgive this writer for the 1987 Rickey Medlocke and Blackfoot reference, but this could be ‘The Closest Thing To Heaven’.
Adelaide’s Alana Jagt puts the “light” in delightful when she is onstage. There is a courteous radiance about her that is remarkably engaging, and she connects with her audience not only through her art, but through her playful personality.
‘Somehow, Sometime’ opened the exhibition with an elegance that silenced the bustling crowd, which at this later hour was thought to be an impossibility. Her folksy and enchantingly rustic rock was beyond engaging, as if Julien Baker was covering Bob Dylan – the spectators were transformed from rowdy to smitten in an instant.
‘Lullaby #2’ revealed an astonishing Vera Sola aura that was above magnetic, and ‘Imagining Life’ should have been used in the credits of Robert Eggers’ astounding film The Lighthouse. ‘Darkness Lies’ added a slight melancholia to the atmosphere, which Jagt bolstered with some joyous hope in counteraction. On that wavelength, ‘Sarah’, a cover of the wonderful Ween single, is pleading for the producers of Yellowstone to seek out Alana for their next episode’s soundtrack, if there is to be more of that fantastic series.
This might just be Alana Jagt’s last musical demonstration for a while, as her plans for the next release are going to be a priority. However, if an opportunity as special as this arises again that she simply cannot decline, do not miss this mystic musician. She will take you to her wonderous Wilderness.
An abundance of cheers and chants of “Tyler!” or “Richo!” welcomed the endlessly adored Luca Brasi vocalist and usual bassist to the stage (clearly on this night, he was equipped with an acoustic guitar), and the energy was promptly transformed into a folk-rock riot. This may have been a solo showcase for Tyler Richardson, undoubtedly though, the vein of this event was one of punk rock spiritedness.
‘Old And Slow’ was a rapid attention-grabbing anthem of charming poetry that provoked an admiring tidal movement of the crowd members’ bodies swaying to the preeminent poetry. ‘Tangled; Content’, a re-imagination of the Luca Brasi single (there were to be numerous of these), incited that folk-punk choir effect from the Taswegians’ fanbase crammed into this incredible and intimate venue. ‘Steel Grey Sea’ was almost arresting in its beauty. If there is ever a sequel to the film Garden State – Zach Braff, here is your title song.
Arguably dissimilar to an array of solo acoustic shows of this character, Mr Richardson embraces the audience interaction. He relishes in the rowdiness, heckles, and happily exchanges numerous jokes with immeasurable grace that is beyond alluring. Considering the Crown & Anchor is where LB cut their teeth in Adelaide, this venue felt like home for Tyler, and he made it home for us all.
‘Borders And Statelines’ was powerfully reflective in how quickly life passes us by and how phenomenal ‘Brasi are at composing lyrical magic, even in their earlier days. ‘Yossarian’ was exquisitely tender and a rendition that Frank Turner would have been envious of. Paul Kelly’s ‘How To Make Gravy’ elevated everything; the fiery sing-along from Adelaide was rollicking in the best way possible, and this was flawlessly followed on with ‘Collisions’.
‘Let It Slip’ was delivered with a different level of authenticity, not lesser and not necessarily more. It struck a chord of the sensational sentiment of missing and loving those closest to you and it became more striking in this acoustic interpretation (Tyler Richardson spoke of how superhuman and spectacular his wife Alix is, repeatedly and devotedly). ‘Anything Near Conviction’ was more a national hymn than a variation. A cover of Goo Goo Dolls’ ‘Iris’ captured this exhibition faultlessly, and then the divine ‘Yellow Dog’ touched everyone in the room’s hearts as the impact of losing our best friend, a dog or a pet even, is one we never recover from properly; but their memory stays with us for as long as possible.
‘Text Her’ was a brilliant ballad that Dan “Soupy” Campbell wished he had written for his evocative Aaron West And The Roaring Twenties project. Realistically, though, Tyler declared his love for his wife divinely through song.
During the performance, Richo shared his doubts about continuing with music and that he was eternally grateful he decided to, as it was his brightness when life was at its darkest (his son Harris and his health battles were certainly of unimaginable circumstances). It was his medicine when his entire livelihood was suffering. For us all present on this night, the music was our “healing tool”.
