Kate Nash, Tessa And TheTypecast @ Billboard TheVenue, Melbourne (18/02/2011)

Fri 25th Feb, 2011 in Gig Reviews

It had only been a matter of months between visits, but Melburnians were more than ready for another dose of sassy songstress Kate Nash. This latest tour would ensure an upgrade in venue, with punters filling out Billboard in anticipation for the return of the Brit’s brand of indie pop.

First up were supports Tessa And The Typecast, a quintet out of Ballarat. Bearing strong jazz and contemporary influences, their cheery aesthetic surges forth as if to soundtrack the film adaptation of a motivational poster. It’s far from imposing, but pleasingly enough; the band have a sweetly personable quality that defines their approach. Tessa’s terrific vocal gymnastics were undoubtedly the talking point of the set, whilst their latest single Painter – charged with a playful, creepy-crawly innocence – also became a highlight. They should be commended also for showcasing brand new material, a feat accomplished effortlessly as the set braved new, more rock-based territory.

Although their performance proved relatively enjoyable, there were a few sore points that are worth mentioning. The band were never truly visually stimulating. Although Tessa projected an intriguing presence in relishing her spotlight, her band mates’ appearances left a lot to be desired. They seemed awash with disinterest for the majority of their time on stage. It was only made worse by their recurring tendency to sound slightly sloppy and discordant. Fortunately, these can only be considered minor hiccups in what was otherwise a fun, uplifting set from Tessa And The Typecast; one marked by a decidedly strong finish.

Kate Nash took to the stage adorned with a giant red bow upon her head, appearing positively gorgeous. Fans were eager to voice their adoration for the songstress, Nash opening with I Just Love You More, an impassioned, crystal-clear declaration of lust complete with Karen-O-inspired shrieks. It was a gritty introduction to the set before Do-Wah-Doo took the reigns; its reto dance party vibe ensuing. The single was performed to perfection, but those acquainted with its studio rendition would have longed for its brass and backing vocals, each missing on the night. Kiss That Grrrl endured similar treatment, but Nash would again encounter no trouble in casting a spell over the entire venue, her fans in fine voice for every line.

Birds, set to twinkling glockenspiel accompaniment, best illustrated Nash’s immense power to captivate an audience with ease. As the song’s rom-com narrative gently unfolded, Nash cradled the venue through each of its arresting sentiments, many left to swoon in her presence. It was here that it also became apparent just how integral Nash’s visual performance is to the entire show. Spotlit and – more often than not – the only figure truly visible, Nash made the most of her platform, each expression and nuance of her delivery proving utterly absorbing. The connection between artist and art – and, as a result, artist and audience – was admirable indeed.

The set consisted of material from both of Nash’s albums, displaying her distinct punk-rock influences and roots, a dimension that may have surprised some in attendance. The brilliant Foundations helped show the set to its encore, before Nash returned to the stage with a new outfit. Although in acoustic mode initially, Nash followed up with a stormy, show-stopping finale Pumpkin Soup, again infusing the night with a fierce rock and roll moxie. The enduring image at the show’s conclusion will forever be the sight of Nash perched upon her keyboard, stomping viciously upon the serviceable instrument to bring her return to Melbourne to a crashing, chaotic close.

By the end of the night, it was no wonder why the city had been so eager to welcome the delightful Kate Nash back with open arms: this was a fun, frivolous, let-your-hair-down kind of evening – just the sort of thing you expect when you give the Brit’s records a spin. Her commercial interest may have waned somewhat of late, but in the live setting, Nash continues to delight.