Live Review: Sarah Blasko

28 February 2013 | 9:30 am | Dani DeVille

It was a performance so tight you could sew pockets in it and have it pose as a pair of Russell Brand’s pants.

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What could make a warm afternoon, sipping crisp white wine and nibbling on triple cream brie in the stunning surrounds of Kings Park better? Well, possibly the addition of Sarah Blasko and the West Australian Symphony Orchestra performing Blasko's latest album, I Awake, in its entirety.

Kicking off the afternoon was Winter Coats, a surprising one man act who, armed only with a violin and a loop pedal, can make a sound as big as a whole orchestra. Using a variety of different techniques and some furious bow work, Winter Coats produced some incredibly multitextured and multilayered tunes, including a rather cute cover of TLC's Scrub. It was truly incredible to watch and beautiful to hear!

Disappointingly, this refreshing and unanticipated start to the day was followed by The Necks, whose set seemed to be one long tune up session. The band achieved their biggest round of applause for leaving the stage.

Fortunately, Sarah Blasko swooped in to save the day like Batman with the help of her sidekick The West Australian Symphony Orchestra. Blasko, dressed in a long, black, panelled skirt and simple black short sleeved skivvy, certainly looked the part with her orchestral backdrop. Starting her set with some of her older hits, such as No Turning Back, Blasko leaps and bounds around the stage vivaciously, proving that she's not afraid to ruffle her skirts and get hot and sweaty to put on a good show. She pranced and frolicked gracefully around the stage, acting out all of her songs with exaggerated swooping gestures. All of the pieces of the puzzle fitted together perfectly to form of a picture of a very classical performance. Blasko then performed the whole of her latest album, I Awake, with her usual velvety tones, her voice is flawless, her every gesture measured. Her back-up musicians watched Blasko's every move with all the unflinching attention of a fat beagle on a pork chop, keeping in perfect time with every beat and tempo variance. It was a performance so tight you could sew pockets in it and have it pose as a pair of Russell Brand's pants.

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