Live Review: Hiatus Kaiyote, Sampa The Great

Sydney-based, Zambian-born rapper Sampa The Great rocked up on stage like it had been named after her, hyping up the audience with Jamal, off her debut album The Great Mixtape. After performing F E M A L E, she smiled cheekily, and bounced across the stage saying "Y'all acting like you afraid of music or something!" She performed two covers of Hiatus Kaiyote tracks before walking off stage with what could only be described as the strut of an upcoming queen.

Four-piece Melbourne neo-soul/jazz band Hiatus Kaiyote appeared on stage with three extra back-up vocalists, performing Shaolin Monk Motherfunk. On lead vocals and guitar Nai Palm (aka Naomi Saalfield) was magnetic and extravagant, wearing an intensely feathered headpiece, multicoloured sequined one-piece and a fur shawl. Her goddess-meets-rock star persona coupled with her consistently flawless voice left the crowd utterly entranced. Breathing Underwater off their second album Choose Your Weapon, was exquisitely mesmerising live — so much so that it well and truly exceeded all expectations by far. "This is deeply inspired by the Sahara desert and its rhythms", she said before stunning polychromatic floor lights flickered and danced on stage, the visuals courtesy of Timeboy.

Their performance remained enchanting for the entire length of the set, often leaving the audience stunned and a little lost for words. There's something about Saalfield's voice that just feels nostalgic and old-fashioned, but also somehow modern and deeply progressive at the same time. While performing, she's charming and wildly charismatic — and when she pauses to speak to the audience she's reserved and almost coy. "It's one thing to travel the world but to play in your own country in a venue like this is crazy. Thank you so much for coming out. I'd like to give a special shoutout to Sampa The Great!" she said before thanking every member of the band, the back-up vocalists and visuals. Hiatus Kaiyote ended with Nakamarra and The World It Softly Lulls, before being pulled on stage for an encore by an audience that had already been raised to their feet.