There she was Comin’ Tonight to a ridiculously full Forum Theatre. Not a spare seat in the house and finding the right place to stand and watch the show was a tough task. If it wasn’t for the security ushering us away from the walkways and into the furnace-like – œmosh’ environment, it was the swell of the crowd numbers pressing up against one another due to the space issue. Martha Wainwright introduces herself through song; “You’re comin’ tonight/To my home town/I’ve been to yours many times before/And it’s always been a thrill.” The mighty throng erupt in the first of many appreciative breakouts of affection for the French Canadian songbird, Anjelica Huston lookalike, boob-tube, killer high heels, slim blue jeans wearing femme fatale.

Martha Wainwright is one of those performers who demands your attention. She’s raw and sexy but refined and classy – her musical gift is innate and she plays to her strengths. She has a voice that can melt the iciest of hearts. Melancholy, explosive, scathing and damn right intimidating vocal ranges oscillate from one verse to the next with falsetto and harmony, spoken word and full scale modern folk troubadour storytelling. Playing predominantly acoustic based guitars in respect to her deep-rooted folk traditions, she branches out to a little electric guitar tonight and we couldn’t be more delighted.

With husband/producer Brad Albetta on the bass, synths, electric guitars, drums and whatever else he could get his genius hands on this evening, Wainwright moved through a set that perfectly represented her career to date, with songs taken from her self-titled 2005 debut and this years, I Know You’re Married But I’ve Got Feelings Too records, as well as a few surprises. Bleeding All Over You spills onto Hearts Club Band, and then onto So Many Friends, before Wainwright goes off on a tangent about playing an obscure Christmas Show at Carnegie Hall with brother Rufus.

This Life is introduced by delicate instrumentation that frames the early bars of this sublimely epic tune about the frailty of human existence. Albetta rides the synths as his wife takes the song into unchartered waters, screaming; “Oh, there’s a song, there’s a song, there’s a song, there’s a song, there’s a song/There’s a song/It’s in my head/There’s a song, there’s a song/A little country song/It’s in my head.”

Dis, Quand Reviendras-Tu showcases Wainwright’s French language skills and a cover of Leonard Cohen’s The Traitor takes the sell-out performance to another majestic level. She’s reading from an idiot sheet, more for the benefit of her band who all take turns on adding their bit to the classic. Drummer Matt Johnson and latest guitarist Oren Bloedow who gave us a cracking Neil Young-esque inspired chorus break on the Cohen cover pass the song through to Albetta and back to Wainwright to finish off in truly smashing fashion, before the band launches into You Cheated Me and Jesus & Mary from the most recent record to hit further highs.

We’re finally graced with the encore set of Bloody Mother Fucking Asshole, Stormy Weather and See Emily Play. The band leave the stage and sections of the crowd disperse. I’m almost at the door when the roar goes up again and Wainwright comes out to finish the show with Factory. Dylan’s It’s Alright, Ma (I’m Only Bleeding) hits the speakers as we spill onto the dark, rainy Melbourne night feeling content and inspired by the performance we’ve just witnessed.

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