Reviewed onFriday April 8 (photo by Ashley Mar)
If any Sarah Blasko fans are harbouring doubt over the new synth-soaked sound of Eternal Return, her Enmore performance stomps, romps and ’80s boogies all over it. This Aussie indie darling is as gracefully kick-arse as ever on the stage.
There’s a certain polish to seasoned solo musicians like Blasko; a sheen particularly noticeable alongside those not yet buffed by over a decade of performing experience.
Take supporting electro act Lupa J (AKA Imogen Jones), who conjures eerie Hitchcock-inspired soundscapes through lush, looping vocals, fidgety violins and fractured beats. Some serious production chops and musical maturity are evident in this 17-year-old’s set, but there’s still a fresh-faced nervousness that slips in between songs.
Multi-instrumentalist Jack Colwell, on the other hand, is confidence in overdrive, bursting from his keyboard during the first song to caress the hands of some confused punters in the front row. His big, brazen ballads are off-kilter (and a little off-key) but delivered with a theatrical intensity that either beguiles or bewilders.
Cue Sarah Blasko. She glides onto stage in an ’80s power suit – the perfect embodiment of both professionalism and pizazz. Over the slippery synths and military snare of ‘I Am Ready’ she sings a lone smoky note, and we know, by God, she is ready.
She’s ready to boogie. Blasko sashays and stamps to the percussive snap and dizzying ditties of ‘Maybe This Time’ and the heffalump-plod of ‘No Turning Back’. (“Apologies to any tap dancers in the audience,” she says, “your art is about to get murdered!”)
She’s ready to explore both new and old terrain. The six synths and keyboards get a workout during fresh groovers like ‘Only One’, while a double bass and some carefully carved out a capella moments enable oldies ‘We Won’t Run’ and ‘All I Want’ to shine.
She’s ready to mesmerise. There’s a stripped-back rendition of ‘Here’, complete with delicate ukulele and haunting falsetto that so enchants the crowd, we momentarily forget to clap once it’s finished.
Most refreshing is Blasko’s readiness to play, evident in an encore featuring famed Sydney drag icon Aaron Manhattan lip-syncing an ironic version of ‘I Wanna Be Your Man’ in utterly fabulous glory.
New wave vibes, daggy dance moves and all, Blasko still posseses an effortless ability to enthrall. Best of all, she demonstrates serious musicianship while never taking herself too seriously.
