Walking into the Toff In Town one could be forgiven for thinking they’d stepped into a cabaret or an old fashioned jazz club. The front section covered in tables and chairs, each one with its own candle, the lights shining a dull blue completing the intimate affair. A small space had been reserved at the front of the chairs in case anyone felt game enough to jump up and dance – It didn’t seem likely, well not this early in the night at any stage.

Opening (and only) support act Jackson McLaren stepped onto stage alone except for his acoustic guitar. With his boyish looks and crazy hair it was uncertain what he was going to sound like, however when he started, it was apparent that no one should have been worried. His brand of acoustic folk rock soon had the crowd going. With a sound similar to Melbourne singer songwriter Whitley and lyrics that reminded one of Ben Kweller, Jackson McLaren soon had the crowd in his palm. His smooth, smokey baritone voice accompanied his playing wonderfully, especially when he finger picked. Playing songs filled with imagery of Australia and beyond, McLaren’s lyrics convey a depth one rarely sees in a performer of his age (he’s only 18).

His nervous demeanour only serving to add to his set, McLean opened with At Least We See The Same Moon, his lyrical style reminding one in a way of Bob Dylan, he then moved onto Star, proclaiming that he “might not remember how to play it” – Tthis was most definately not the case. Moving through his set he explained how he had only recently “discovered drop-D tuning” and wrote the song I’d Rather Be In Bed, whilst in a bad mood – this didn’t come across in the song, but added as a touch of insight. McLaren then pulled out harmonica saying he’d “give it a go” and it perfectly complimented his playing style. McLaren explained that his second last song entitled Oh My God I Know was about a “house warming party gone wrong” where one of his friends “broke their nose” and another “fell through the ceiling”, a song with a driving beat that allowed him to let go with his voice and coaxed some hand claps in time from the audience. Closing with Farewell This House one hopes it won’t be farewell for too long.

Anticipation was building for the opening act which was helped along by the curtain closing and the room becoming more and more full. When the curtain finally opened and Gin Wigmore appeared with her band. Looking like a punk rocker in her white shirt, red checked tie, denim shorts and converse shoes and with tattoos running down her arms one wasn’t sure what to expect as the band played the intro on Dying Day however once she opened her mouth and sang a people were taken aback. With a vocal style similar to that of Duffy or Amy Winehouse, Gin’s singing took centre stage to her fashion.

If people were taken aback by her singing voice they were even more by her normal speaking voice. Enthusiastically bounding up to the microphone after the song, Gin exclaimed, “Hi How are ya? I’m Gin” – Her thick New Zealand accent majorly contrasting against her raw, soul singing voice. Confidently chatting with the audience, Gin told the audience she wanted them to dance but to “forget the first half” as it was the “slower stuff” but as soon as it hit the “second half – Go for it!”

Accompanied by keys, bass, drums and electric guitar Gin quickly moved into the soulful, swaying Don’t, backed by vocal “Oohs” from her band. Picking up her acoustic guitar, she chatted about her next song, Golden Ship explaining it was about her dog, which she “can’t stand at the moment so she’s given it away for a bit”, the harmonies blending nicely with the rocky song. An appearance by trumpeter Kevin followed on These Roses, a love ballad with a barb – “I’m addicted to you, but I cannot give you my love”, before Gin picked up her Ukulele for the sweet Hawaiian-esque song, Lucy Loo (about her sister and how Gin would always stand by her) throughout which she jumped and bopped about. Proclaiming “You should all have this job” as it was “the best in the world” Gin replaced her ukulele with the acoustic guitar again for New Revolution before moving into the rocky – synthesised organ of Too Late For Lovers, a song sung from the grave.

Explaining her look (Based on “Angus Young” as she “didn’t get ACDC tickets”) it was then back to the ukulele for I Do, the cute sunshine sound (Why does the ukulele have that effect on songs?) contrasting with the lyrics about heartbreak. Gin then decided to “ramp it up” for Hey Ho a song about “putting someone in the grave”, her lack of instrument allowing Gin to march and bop around the microphone with the rocky music (the electric guitar making a stand out performance).

The second half certainly was a lot boppier than the first with piano based Don’t Stop a very enjoyable pop song, complemented by trumpet and letting Gin wear her dancing shoes in a bit more. This was followed by Good News with Gin again on acoustic guitar. Finishing the song, Gin exclaimed “Can at least one person dance” leading to a crowd of girls (not gone unnoticed by Gin “Feminism – Woo!”) dancing to Under My Skin from her debut EP. Telling the dancers “no one’s allowed to leave” Gin moved quickly into her “last song” Oh My, an infectious, hand clapping song that seems to channel 50’s rock and challenges the listener not to tap along to the beat. It was then off for the quickest break between encores before rushing out to perform the rocky One Last Look.

An absolutely stunning night, let’s hope that being from New Zealand Gin Wigmore is a frequent visitor to our shores.

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