Michael Buble was doing something on the steps of the Sydney Opera House that had the whole front section fenced off and guarded by hired goons. After traversing the maze of security fences and interior renovations, I luckily still managed to get to my destination on time.
A second fundraiser gig for Amnesty International in Sydney in the space of a few weeks, this time at the Studio on the side under those famous off-white sails. It's ladies' night tonight, with Melbourne trip-hoppers Velure, Sydney songstress Inga Liljestrom, and Philly rapper Ursula Rucker.
Velure got on stage all dressed in black. A band I had been quite excited about ever since their "Songbox" ep brought back a cool, trippy sound I haven't heard done so well in years. Four blokes on keys and technologies, electric guitar and bass, and lead girl Nelly with the splendid vocals and accordion.
This hazy red, scented room (Yes, scented. Like a store selling coloured stone jewellery or natural skin care products. Possibly to cover up for the b.o. stink from hosting the Bird last night.) drew a crowd that was older and more classy/affluent looking than the usual back alley/dark corner dumps I frequent. But the people weren't any more polite when it came to keeping their mouths shut while the band was playing. I was drifting across the floor looking for a spot where I could listen to the band without distractions.
The music was nice pop/trip-hop mix with touches of glitch, the vocals very cute and pop. Reminding me of Telemetry Orchestra, another pop/electronic group that deserves a whole lot more love. Song "hide the fool" with Nelly's beautiful sighing vocals and accordion a highlight of the set.
Inga Liljestrom, a singer I had been trying to catch properly for quite a while. Caught her briefly singing for local electro/house act Ollo, then again only a fragment of her performance at Cockatoo Island. Opening with a solo, slow and mournfully wailing electric guitar against her unique voice, it shut the crowd up quick smart. Other people on stage played violin, (or viola, I forgot how to tell them apart. But then really, who proudly plays viola?) cello, double bass, drum kit, trumpet, keys and other technologies, and some other brass instrument. I never really paid enough attention in highschool music class during the bit about brass instruments.
There was also a dancer to the side of stage that was largely superfluous, especially considering the fact that she disappeared for a large part of the set. The dancer may well have been roaming amongst the audience, I wouldn't have noticed for my attention was fully reserved for Inga. A mesmerizing performance, and something pretty special that possibly wouldn't work in typical live music venues because she casts a spell that is powerfully enchanting yet I imagine could easily be broken by drunken yobs talking too loudly at the back. Playing at a space like the Studio with a projector screen behind the stage displaying some new gothic/film noir footage is just about the perfect way to experience this.
The easiest/laziest comparison to make for the sound of Inga Liljestrom would be the sound of Lamb when they are at their most emotionally intense, lots of strings and not much electronics, a strong focus on the vocals. The music may build up to a giant wall of noise, but it's never fast or with an electronic beat like a trip-hop/dance cross-over some may describe Lamb to be. Left the crowd gobsmacked.
Ursula Rucker, I really didn't know much about her. The idea of Velure and Inga Liljestrom on the same billing already had me slapping my money down. I somehow got the idea that Ursula Rucker would be some cool and chilled out, yet deep and politically charged raps and spoken rhymes paired with some cold and leftfield electronic beats. Coming on with a handful of books and rough notes to the sound of two guys on drum kit and guitar with electronic equipment attached, cueing up loops and samples as they play, it turned out to be a bit more conventional than that. In fact, and I do not mean it in a derogatory sense, it was surprisingly pop/commercial. It's a wonder why I haven't heard more of her sounds on the radio as I can easily imagine the sounds they're playing out tonight fitting into the indie radio stations' playlists if not breaking through to commercial airplay.
The room by now was pretty full, though I still don't think it totally sold out. The opening song was leaning towards experimental/spoken word as Ursula did a long roll call of everyone and everything that has inspired her to where she is now. But as the set rode on, the songs, if not in lyrical content, at least musically became more conventional and even danceable for those more brave/brazen/individual/drunk among the audience. There was some brief between-song talk about beliefs, life and politics, but it wasn't anything too heavy. She was looking tired but still cheerful, the set was pretty good and interesting.
But really, honestly, tonight, for me, Inga Liljestrom stole the show. The best thing I had seen all year.