From the ornamented balustrades, structured chandelier and luxe curtained stage, the Art Deco style of Ormond Hall set the tone for an intimate and magical evening.
Out of the estimated 200 chairs that covered the floor, only a small few were unoccupied during the support set by Holy Holy. The Brisbane five-piece lead by singer/songwriter Timothy Carroll and guitarist/producer Oscar Dawson were a delicate yet strong choice to open the night. Having previously seen Carroll and Dawson perform as a duo, the addition of Myka Wallace on drums, Graham Ritchie on Bass, and Hannah Macklin on keys and vocals, heightened their sonic strength and live presence. The acoustics in the hall created a powerful emotive feel and the band grooved alongside the melodic journey.
As the sluggish, smoky haze rose against a hue of warm golden and purple lighting, some glorious summer hooks and impressive instrumental breakdowns emerged. The harmonisation between Carroll and Macklin appeared effortless while Dawson showcased his impeccable ability on the guitar. Carroll didn’t shy away from addressing the audience between songs, even humorously plugging their single ‘Impossible Like You’ as an adequate beer coaster. Finishing off their set, Carroll, Dawson, and Ritchie jammed fervently as an almighty force, leaving the crowd on a high.
During the intermission, the smoke kept rising and the coloured lighting continued to vary. With music like Emiliana Torrini’s ‘Sunny Road’ playing in the background, it was pleasant to feel the recurring indie-folk theme of the night.
Emma Louise’s recorded vocals opened up to a darkly lit stage and had the audience searching for her non-existent presence. Star-like projected lighting circulated on the blackened walls and ceiling. She then emerged, vocally haunting the surrounds with the song ‘17 Hours’. The audience was completely captivated and solemnly silent, listening to her ethereal sound. The drums began heavily pulsating. The drummer was hidden among the smoke – an eerie but beautiful intrigue. The level of audience enchantment was evident – it took several moments to realise the songs conclusion before the crowd showed any reception.
Emma Louise donned the androgynous look in a buttoned-up white shirt with black pants and suspenders. The fragile-framed singer was every bit the storyteller with her raw lyrics and emotive body movements. Mostly standing still, she incorporated a few delicate but strong hand gestures, which transformed and heightened her conviction.
As she introduced ‘Boy’, the starry lighting faded and all camera phones appeared. Despite the relaxed and somewhat dreamy atmosphere, her performance had one bloke fist pumping from his seat. The backing vocalist, Hannah Shepherd, was an absolute pleasure to listen to, with the harmonies sounding even more magical than the recording.
‘Stainache’ was a moving, thought-provoking, and harrowing performance.
There were a few unwelcome distractions. Waiters continually dipped into the audience to collect empty cups and broken glasses. Additionally, there was a slight mic feedback issue, and at times, Louise gave the impression that she was rushing through the set by setting her guitar down before the songs had ended. However, these were the only flaws found in the utterly mesmerising and brilliant gig.
Continually acknowledging and thanking the crowd after every song illustrated just how appreciative she was. Louise introduced ‘Atlas Eyes’ with a summary about mental illness and how families cope. The star-like projections began circulating again.
‘1000 Sundowns’ was by far the highlight of the night. She detailed the song’s conception and its relativity to a personal death, and dedicated the song to the daughter of the deceased who was in the audience. All band members left the stage, leaving Emma Louise, her words, and her guitar in a soft spotlight among the blackened depths. The raw and beautiful musicality invited the audience to get lost in the powerful sorrow. Many audience members stood, clapped, and wiped tears from their cheeks.
All members returned onstage for ‘To Keep Me Warm’. With the heavy drumbeat paving the way for a clapping chant, ‘Jungle’ received the largest reception of the night. It was a complete change of pace, strengthening the emotional variety and musicality of the evening.
Ending with ‘Pontoon’, Emma Louise then thanked the crowd “very, very, very, very much” and left the stage while her band continued to play, each member dissappearing one by one.
Just Louise and Shepherd returned for an encore and played the new song, ‘Pressure Me’. With lyrics such as “driving with my thoughts”, “crash and burn” and “label me simple”, the song is a somewhat sorrow-filled realisation as well as a glimpse into the pressures of touring. Once again, their impeccable harmonies captivated the room and both concluded by softening their vocals and receding into the darkness.
Emma Louise Setlist
17 Hours
Mirrors
Cages
Boy
Stainache
Atlas Eyes
1000 Sundowns
To Keep Me Warm
Jungle
Pontoon
Encore: Pressure Me
