Photos by Emily Waugh
“A lot of sad single people come to our shows”. That’s what Sam Bentley, lead singer of Australian indie folk-rock band, The Paper Kites, jokingly declared, a ray of light illuminating his acoustic guitar from behind. Oddly enough, I didn’t see many “sad single people” present that night, instead, countless couples and friends embracing. I doubt that anyone left Hollywood Boulevard “sad”, but rather in a feeling of unification.
The sold out Fonda Theatre was packed to the brim, even the balcony full of an eclectic audience, spanning broad racial, stylistic, and age differences. From bearded middle aged men, to twenty year olds decked in silver necklaces, to the dozens of flannel wearers and a notable number of black leather jackets, The Fonda was a point of connection for a diverse group of music lovers.
Country singer and the night’s opener, Bella White, entered the stage with a Gibson guitar in hand. She stood in a long white skirt, hair pulled up with loose strands falling onto her face. While she performed solo with only one instrument, the theater was left mesmerized. White’s charismatic and endearing personality was just a small part of her performance that astounded the audience. Her gentle, yet effortlessly clean riffs echoed and the power of her belt floated through the room. White’s standout song “Burn Me Once” can be found in the recent film, The Ballads of Songbirds and Snakes. I have no doubt that she will continue to gain recognition from there.
As I watched The Paper Kites shuffle to their individual stools, refined strums and eager applause filled the air. The night’s eight piece band from Melbourne consisted of Sam and Josh Bentley, Christina Lacy, Sam Rasmussen, and Dave Powys plus three guest musicians that they call “The Roadhouse Band”. The dark theater, light flooding in from upstage, presented an angelic picture of eight artists united through song. Their sounds weaved together to create a calming and warm sensation. Sam Bentley’s passionate voice rang, while the audience stood still and in awe.
The show could easily be divided into two separate acts, what should be known as “the sitting set” and “the standing set”. “The sitting set” consisted of intimate performances such as “Tenenbaum” and “I Don’t Want to Go That Way”. Between songs, each musician would switch instruments, showing their true versatility, with the occasional features of a tambourine, mandolin, banjo, and harmonica buzzing a sweet melody to accompany the vocal line. The band didn’t need to jump around or perform elaborate dance routines for their connection with each other to be apparent. Each individual performed with eyes closed, encapsulated in their own craft, but occasionally sneaking slight glimpses at one another to maintain their collective.
This connection didn’t end on stage. “We want you to feel involved”, Bentley proclaimed after assuring the comfort of the audience for the third time. From the group photo to the acknowledgement of each crew member’s name, it’s evident that The Paper Kites have great love for all involved in their artistry.
To transition, the group gathered around a singular mic stand and softly sang their popular song, “Bloom”. A spruce Martin guitar picked an intricate underscore, allowing focus on the eight voices’ perfect blend, tight harmonies leaving a tender and fuzzy feeling across the theater.
Moving on to “the standing set”, Bentley promised that “we’re really gonna blow your minds” and he was most definitely not wrong. Acoustic guitars were traded for deep red electrics. The switch from mellow strums to high energy indie rock was sudden, yet thrilling. Spectators began to dance in place with their partners and friends, proving the connection that The Paper Kites build across relationships.
Beams of color panned down the theater walls encouraging movement and inciting energy as we entered the final stretch of the night. I couldn’t help but notice the creative lighting design continuously building a storyline representative of the band’s journey. Minimal hues were used during features from their first EP, Woodland, to resemble humble beginnings and let the music speak for itself. Yellow gave a sense of warmth during uplifting indie songs and red presented intensity during their rock heavier tracks. Finally, purple lights closed the show to reveal the band’s growth and pride in their 14 years of music making. The strobes even trickled out to illuminate the joyous balcony audience. Lighting done by Sam Jarousek truly transported concertgoers into a memorable journey alongside the band.
Once the full set was declared complete, I knew there was more to come per the stomps rumbling below my boots and reverbs of the encore chant. As the group came back to play two final songs, “By My Side” and “Electric Indigo”, I glanced around at moments shared and loving glances made. Indeed, “sad” is quite the opposite of how anyone felt driving down Hollywood Boulevard reflecting on their night with The Paper Kites.
