IN REVIEW: AVALANCHES, SBTRKT, HOLLY HUMBERSTONE & MORE
WORDS BY MARY-KATE HANNAGAN
It wasn’t looking “Heaps Good” for Queensland after the festival announced it would be cancelling its Meanjin dates, but Secret Sounds pulled through for Brisbane with two nights of replacement shows, featuring a stellar lineup of indie talent from near and far.
Bringing in the new year the only way we know how (sweating in the Valley on a Wednesday night,) morale was high as punters streamed through the swanky foyer into Fortitude Music Hall for the second night of the event.
LOGAN
Kicking off the night was up and coming local artist, Logan, a Gold Coast-based singer-songwriter fresh off the back of his break-out year. And if there were any residual nerves about being the first to play on a killer lineup, he certainly didn’t let it show. Like his stage presence, Logan’s sound is unique, eclectic even- clearly influenced by old school funk and soul, the audience couldn’t help but bop along to the groovy riffs and basslines.
Cementing himself as one to watch, Logan is a true performer, oozing personality and charisma throughout the set with dance moves reminiscent of Elvis. It was only natural he treated us to a cover of Presley’s That’s Alright Mama.
MAY-A
There were plenty of squeals to be heard as MAY-A makes her entrance, serving up authenticity and confidence from the get-go. The chemistry between her and the all-female/queer band is visceral, the kind that makes you want to hug your girlfriends a little tighter, with exchanged looks between them as if to say, “Look at us go!”
MAY-A’s impressive vocals take centre stage, held up by throaty, surf-rock guitar sounds, steady bass lines and tight drums, symbolic of the indie-pop we all know and love.
Commanding the stage with ease, MAY-A doesn’t shy away from intimacy. Her personality shines through each track, not afraid to share the occasional anecdote or expression of gratitude between songs.
The setlist was a well-curated mix of her popular tracks and some hidden gems, including a cover of The Neighbourhood’s Sweater Weather; signalling that, like many of us in the crowd, she likely also had a perfectly curated Tumblr page in 2014.
Closing the set with a personal highlight, a reimagined version of MAY-A and Flume’s 2022 hit song, Say Nothing, with the addition of heavier drums and guitarist Chloe Dadd’s tasty, grungy riffs.
HOLLY HUMBERSTONE
Sad girls to the front! Holly Humberstone is starting (it’s me, I am sad girls.)
Starting off strong with hit single from her recent debut album, Paint My Bedroom Black, the clarity and tone of Humberstone’s voice is nothing short of mesmerising.
Winner of the 2022 Brit Award for Rising Star, Humberstone really knows how to hit you where it hurts, with introspective and earnest lyricism wrapped up in haunting melodies and atmospheric synth arrangements. There’s an obvious synergy between her and the band, a shared vision if you will. Each member impressive in their own right, I still couldn’t keep my eyes off guitarist Jack Rennie, with an energy so captivating it seemed like he was as stoked to be there as the rest of us. Even after a hugely successful album release and a massive year of touring, Humberstone and her band exude a great sense of humility, as if being at this small venue in the heart of Brisbane was as much of a ‘pinch me’ moment as playing Reading Festival in the UK. Humberstone is sweet (in the least condescending way possible,) speaking softly to the audience as she gives some all too relatable context in between songs.
She can hold her own though, quickly brushing off the heckling from what I could only assume was a group of ‘bros’ at the back of the pit. The setlist was mostly comprised of big tracks from her new album, with the addition of some absolute belters like Falling Asleep At The Wheel, Scarlett, and The Walls Are Way Too Thin, from Humberstone’s first EP.
The performance was colourful and sincere, every creative choice felt intentional, as Humberstone switched her acoustic for an electric guitar, and moved around the space when it felt right.
An intimate experience, each tune held the crowd in rapt attention, fellow long-time fans and newcomers alike revelling in ethereal anthems and bittersweet ballads about girlhood, growing up and heart break.
SBTRKT
The crowd was guaranteed a change of pace as London DJ and producer, SBTRKT was next to grace the stage. Re-emerging after a near decade long hiatus, SBTRKT, or Aaron Jerome, makes his eagerly awaited return to live shows following the release of 2023 album, The Rat Road.
After the last 2 hours of indie/ bedroom-pop, it takes a minute for the audience to really gear up and lean into the heightened BPM and thumping bass. The hesitation only lasts a song or two though, until that almost primal need to just move is too loud to ignore, bodies taking the lead as Jerome guides us through the enigmatic realm of electronic and experimental music.
It’s hypnotising to sit back and observe his craft, with Jerome fully immersed in what looked like my boomer dad’s worst nightmare – a complex set up of multiple screens, synthesizers, and launch pads. You almost want to step into his mind, if only for a moment.
Never defined by genre, even in his live set, Jerome pushes the boundaries of electronic music, showcasing a distinctive blend of techno, drum ‘n’ bass, garage, jazz piano, and synth-pop. By the end of the set, Jerome has the audience eating out of his palm with unexpected twists and turns incorporated into his biggest dance hits like New Dorp. New York, Hold On, and last but certainly not least, Wildfire.
THE AVALANCHES
The Avalanches hit the stage like they parachuted in from a bygone era, ready to orchestrate what would be best described as a nostalgia-fuelled disco.
The crisp guitar of The Divine Chord rung out and smiles beamed throughout the crowd, making way for passionate singing and the occasional sway back and forth. The Avalanches effortlessly navigate their discography, quirky as ever, weaving together tracks from their seminal albums Since I Left You and Wildflower. The accompanying visuals a kaleidoscope of glitched-out beach scenes, retro movie snippets, and cascades of colours that felt like you’d teleported to the inside of a lava lamp. Since I Left You was easily the standout anthem of the night, a clever collection of samples that could make even the most pretentious vinyl collector tip their hat. With the crowd electrified, The Avalanches create a playground where everyone, regardless of where their musical loyalties lie, is united by the universal language of song and dance.
