Secondhand Heart, AinslieWills, Lashes To Lashes, LilyParker @ Evelyn Hotel,Melbourne (14/11/11)

Thu 17th Nov, 2011 in Gig Reviews

Secondhand Heart’s second week of their residency at the Evelyn Hotel adopted a female flavour, with the evening presenting a solid showcase of local talent.

The venue was decked out with a homely warmth in mind, a selection of rugs and cushions sprawled before the stage. It might have fulfilled its purpose if not for the thin attendance early on – comprised, it seems, of an ultra-cliquey crew of bands and their friends, amassed in a half circle of seats meters back from the stage. It was a Dragon’s Den scenario intimidating to early-bird punters let alone performers. Fortunately, however, the evening’s first support act would be one of their own.

Lily Parker of Secondhand Heart indulged in an near-flawless performance; her sweet, stripped-back compositions exuding much intimacy and poise. Parker was sure to guide the audience through her material, a preface or two between songs proving most welcome. Lydia – ‘a song about what happens when you die’ – proved superbly engaging in its sweet melancholy, whereas Go Slow demonstrated a supposed ‘band song’ and a new dimension to her approach. With a solid command of her craft and an especially smooth caress in her vocal delivery, Parker made everything look so easy. Her set made for a nice introduction to the evening and conjured much intrigue with respect to the rest of the bill.

Locals Lashes to Lashes were next to the stage, ready to profess their self-proclaimed brand ‘popcore’ music. It becomes apparent just how much such an all-encompassing label seems to apply. In asserting their delightfully obtuse brand of indie-rock, Lashes to Lashes consistently defied easy definition in the best way possible. At a push, it’s as if The Duke Spirit or Howling Bells decided to entertain their more arty inclinations, opting for a wild and wonderful about-face. Naturally, diversity is among this band’s many strengths. Suki fulfilled her duties as front-woman well, found in the sway of a beguiling fervor. The band navigated their melodramatic material with cool precision, with plenty to keep unsuspecting punters on their toes. Sleepwalkers closed the set with a display of thunderous, cymbal-crashing theatre in store, reaffirming Lashes to Lashes’ technical prowess. The band, polarising as they may be, do succeed in their engaging indie-rock expertise. It’s a shame then that their online presence is seemingly so limited, with just one song, Paranoid, available.

Despite the high standards set by her predecessors, Ainslie Wills immediately presented the evening’s new pinnacle with a charming adult-contemporary approach. Wills opened with her sultry inquisition, with only a plucky guitar to accompany her charisma. A hush fell upon the Evelyn, illustrating a collective recognition that something significant had begun. Naturally, Wills’ band would eventually slide in, though without obliterating her tender balladry, making for a wholly arresting introduction. The band’s jaunty, country-tinged follow-up ensured the continuation of a terrific display marked in part by their impressive cohesion. Their sublime harmonies sit amongst their foremost strengths as an outfit, echoing the sweet precision of a choir. Only one minor discrepancy marred the set: the band’s extensive setups between songs. It was a great shame to see their momentum dashed on more than one occasion, banter failing to dissuade the crowd from conversation. Pleasingly, though, Wills and the band would encounter no trouble whatsoever in reclaiming their attention, a blues-tinged hybrid of Sarah Blasko and Clare Bowditch proving captivating overall.

Secondhand Heart arrived to the stage as the headline act, asserting a disarming warmth early. The band’s bittersweet balladry ignites beautifully, erupting to convey a fiery anguish. Their craft conceals qualities undeniably charming; Lily Parker and Jess Carroll leading from the front with charisma. The tandem act between the frontwomen works wonderfully, and plays a large part in the band’s appeal. Trouble, a song in line for single release, was one highlight of their set, with Carroll seizing the spotlight on keys. Elsewhere, Lions would conduct a smooth, lounge-lizard bout of adult contemporary. Sweet Little Nothings later assumed the role as the last song of the evening, commanding a special intrigue and a certain seductive edge previously absent from the set.

Secondhand Heart did their best to ensure a versatile showcase of pop-rock. On the whole, however, they only managed to reshape and repackage their identifiable indie-pop aesthetic. Though their set proved, song for song, a definite pleasure, a fresh injection of diversity wouldn’t hurt. There’s a definite emphasis upon sonic escalation, crescendo and explosive melodrama, but this leaves their songs often bound to a strict kind of evolution. Being a cohesive, talented outfit and an adept live act, however, there’s little doubt that Secondhand Heart will have plenty more to offer as they continue to grow as a band.

In concluding an especially pleasing evening of local talent, Secondhand Heart did ultimately display their wares an enticing pop commodity going forward, though it will be interesting to see just where they go from here.