Pikelet, Fairmaiden, SarahMary Chadwick @ The Metro,Adelaide (28/05/10)

Tue 1st Jun, 2010 in Gig Reviews

I have heard the name Pikelet mentioned on and off over the past few years and have always been strangely intrigued. Whether it’s the buzz and murmur that has slowly been building around the traps or if it’s just a childhood longing for the warm, softy, buttery caress of their namesake it’s hard to tell. But when the opportunity arose to finally witness Pikelet in full band mode live in the cosy surrounds of The Metro it was hard to refuse.

Opening the night was a solo performance from Sarah Mary Chadwick, front woman for the now Adelaide based Batrider. I have previously seen Sarah in solo mode at the start of a Batrider show, before band members Sam and Steph have taken to the stage, and have been amazed at the intensity and power of her voice. Her songs have a moody, melodic drone to them that holds the audience’s attention. Seated, guitar in hand with her head down and face hidden behind her fringe it is easy to see why the crowd finds it hard to look away. Especially when at the end of each song we are afforded a flash of a smile and a genuine sign of real enjoyment on Sarah’s face. Tonight she was joined for several songs by Matt Banham, who has also taken to a solo stint from his band No Through Road. I must admit I was a bit hesitant when Matt first stepped, nay, staggered on to the stage but their voices matched perfectly with Matt bringing a nice balance and if anything a slightly higher tone than Sarah.

Fairmaiden followed and were quick to set up with the Adelaide three piece consisting of guitar, drums and vocals/i-pod. The crowd built as they kicked off with a style that fused angelic vocals and melodic harmonies with an assortment of electric beats, percussion and powering guitar. Lead singer Ellen stood front of stage and displayed a considerable vocal range with some towering high notes, ably assisted in harmonies by her band mates Liam and Joel. There is a clear upbeat pop feel to their songs but interestingly this is flavoured by a gothic-like undertone that provides a welcomed point of difference from many other bands around at the moment.

Disappointingly the crowd seemed to thin as Pikelet started to populate the stage, which was slowly being covered by an array of keyboards, samplers, percussion and various electronic accoutrements. In full band mode Pikelet swells from being just a solo outlet for Evelyn Morris to a four piece joined by Tarquin on guitar/clarinet, Shags on keys/synth and Matt on drums. The first song started with Evelyn slowly building up a beat by playing, recording and looping back drum rolls from a variety of percussion instruments and toys. The band then slowly added to the mix with Evelyn’s crisp, clear vocals providing the perfect finishing touch.

The following songs provided a mix of looping technology, lo-fi synths, off-beat percussion, smooth clarinet and skilful guitar. Evelyn swapped from keys to guitar to percussion, all the time singing and layering the sounds via the sampler/looping process. Live, the band provides an additional depth and intensity over and above that which Evelyn achieves within the recordings. A clear highlight is Evelyn herself, her vocals, her approachable manner and clear artistic ability to create some great involved and catchy songs.

Their set was all too short with Pikelet seemingly providing only a taste of what they are capable of. Perhaps it was the low turn out, influenced no doubt by the clash with local indie heroes Wolf and Club and Fire! Santa Rosa, Fire! that night. However I feel that those within the crowd were impressed and I for one am happy to add to the buzz surrounding this rare and original musical treat.