Yuck, EMA, Step Panther @Oxford Art Factory, Sydney(9/2/12)

Tue 14th Feb, 2012 in Gig Reviews

The depths of the Oxford Art Factory on a rainy Thursday night feels a long way from the sunshine and blue skies of Sydney’s Laneway Festival four days earlier, but here, two of the most talked about Laneway acts had gathered to give Sydney a second look at what they could do.

Before EMA and Yuck, however, comes Sydney’s Step Panther, a three piece who, like tonight’s headline band, seem to have beamed straight from the early 90’s, with their long, lank haircuts, grungey clothes and distorted guitars that sound somewhere in between Pixies and Pavement. None of this is a bad thing, of course, and the band make a good noise. “This is kind of a big deal for us -” says singer and guitarist Stevesie -”playing with bands like EMA and Yuck” – and on tonight’s evidence, it shouldn’t be long until this is a fairly regular thing for them.

Erika M. Anderson, better known by her initials, EMA says that she’s feeling “a wee bit sick” as she takes to the stage, but we wouldn’t have guessed. Although things get off to a slow start – EMA’s voice is far from weak, but during early numbers, it sounds drowned out by overbearing guitars – the mix gradually improves as the set progresses, and by the time we arrive at the epic, angsty Butterfly Knife with its “Only God can make it right” refrain, the crowd are transfixed, with band and singer working in harmony as EMA prowls up and down the stage delivering a very powerful performance.

The three-piece that EMA fronts sound not unlike the Yeah Yeah Yeahs, and enhance their noise rock sound with electronic textures and occasional violin. It’s an effective formula and by the time that set closer California arrives, we’re left in no doubt that EMA is an exceptional talent.

Unsurprisingly, given the low-fi sound of their debut album, Yuck’s music translates very easily to a live context, and the set tonight veers little from the template established on record. Yuck make raw, rough guitar music, with big hooky choruses, and for the most part, it works really well. There are no frills, and little in the way of interaction with crowd – when the band do speak between songs, it is a surprise to hear English accents, given the overwhelmingly American influences apparent in their music, but beyond this, there are very few surprises.

Alongside the best bits from the album, including crowd favourites The Wall, Get Away and Holing Out, a few non-album tracks make an appearance, including the excellent Milkshake and Soothe Me. As Rubber’s layers of feedback and distortion brings Yuck’s set to a close, enjoyable though it has been, it feels a little anti-climactic after EMA’s compelling performance.