Photo care of FasterLouder.
If the reception for opening act Seja was anything to go by, fans of Sarah Blasko must be a pretty timid bunch. Either that or the three-piece dream pop outfit from Brisbane aren’t used to playing in front of such politely quiet and attentive audiences. The Palais itself is a grand venue; its expansiveness and vintage charm obviously striking a chord with frontwoman Seja Vogel as she remarked “it’s nice not having to play to a room full of bogans for once.” The silence that followed the restrained applause after each of the songs in the group’s half hour plus set eventually got to be a bit too much for the wistful Vogel, who pleaded for the crowd to make themselves known – even if it meant aiming a few profanities in her direction.
Using profanities would be a tad harsh to describe Seja’s performance, however – the band provided a pleasant entree to Blasko’s main course. At times the songs could venture into the territory of synthesizer overload (yes, there is such a thing) but the late addition of electric guitars into the mix saved the day. The two instruments fused together in perfect harmony to create a fuller and more commanding sound.
Seja: moar guitars plz. / Photo care of Naomi Rahim from The AU Review.
The menacing tones of Portishead’s Third then played over the sound system as the stage was readied for the arrival of Sarah and her six-piece backing band. As the volume and intensity of opening track Silence grew, so did the anticipation for the main event. Blasko glided onto stage in a loose-fitting silky white number, decked out with large multi-coloured beads both around her neck and in her hair, complementing those lining the microphone stand nicely.
Double rainbow beads: so intense. / Photo care of FasterLouder.
One of Blasko’s older tracks, All Coming Back, proved to be an early highlight; the beguiling singer rocking back and forth with an almost deranged look in her eye, such was the intensity of her delivery. This commitment to the material proved to be a theme throughout the night – as an observer, it was truly captivating to watch Sarah completely immerse herself in the performance, pausing for air only briefly between songs before diving back in for more.
Singing is serious business. / Photo care of FasterLouder.
She was sans instrument for the majority of the show, with the exception of a brief spell seated at the piano – but this proved to be an advantage. Her voice soared, it is the ultimate instrument; versatile, powerful enough to reverberate throughout every corner of the vast theatre, yet delicate enough to be reined in and whispered when required.
Not being tied to an instrument also gave Sarah the chance to roam free about the stage, engaging in the odd dance routine when the mood invited it. Hold On My Heart saw her cantering on the spot, while the rolling drum fills of Over and Over inspired some military-style marching.
As a counter to the intensity on display during her songs, Blasko was nothing short of adorable when addressing the crowd in the breaks. She apologised for forgetting some lyrics during We Won’t Run, blaming jetlag – though if she hadn’t mentioned it, I highly doubt anyone in the lovestruck audience would have noticed.
Next up Blasko claimed we were in for a treat – the very last time she would perform the Cold Chisel classic Flame Trees in Melbourne. By saying that, she proceeded to jinx herself and forgot a few lines halfway, giggling and struggling to regain her place. As penance for the mistake, she half-heartedly committed to “maybe” owing us another performance somewhere down the track. Here’s hoping she honours that commitment, as she performs a truly stunning rendition.
The band then churned out a foot-stomping, bass-driven version of No Turning Back to close out the main set. A rapturous ovation ensued and the group returned to the stage to perform two additional songs for the encore – Down On Love and the spirited lead single from Blasko’s second album, Explain. Between the songs Sarah explained that she’d had grand visions of finishing the show with a bubble machine showering the stage, but she had set her sights a little too high and had to settle for a rather petit-looking bubble gun instead. She apologised, conceding it was “a bit pathetic,” but really Sarah – when you have a voice and stage presence like you do, who needs gimmicks?
Death by bubbles. / Photo care of Naomi Rahim from The AU Review.
This post was originally published by The AU Review. I have a profile at The AU Review here.
It was a great show, wasn't it! Great review.
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