Live Review: Abbe May, Kucka, Rum Jungle

18 February 2014 | 10:13 am | Joseph Wilson

"Abbe May’s entrance was welcomed by ecstatic applause from the crowd; her stage presence could only be described as captivating."

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Rolling in the night with their refreshing take on heavy rock, Rum Jungle's sound was distinct as they incorporated a disco beat with the antics of the grungy guitar riffs that the bass player played so well.

The night wore on and the crowd got steadily bigger, now that electronic pop legends Kucka had emerged onto the stage. Fronted by Laura Jane Crowther, they filled the venue with undulating synth drops and sharp offbeats that caused groups of revellers to steadily rise on the balls of their feet. The most memorable track that they played was PHANTASY that – with a combination of reverb-drenched strings samples, Crowther's high-pitched psychedelic vocals and a steady offbeat – created an experimental sound that beckoned the crowd to move to sci-fi rhythms.

Abbe May's entrance was welcomed by ecstatic applause from the crowd; her stage presence could only be described as captivating. Much of her material consisted of tracks from 2013's Kiss My Apocalypse, which signified her shift from a more blues-orientated background to a sound that had a greater pop aesthetic. Some of the earlier songs that were played included Tantric Romantic and Sex Tourettes, which both emanated staccato vocals and synth-distorted guitar riffs. A backbone to Abbe May's performance was her strong singing voice that gave a faint hit of the blues amongst the wall of pop-electronica. The song that best complemented her vocals was her rendition of The Motels' Total Control – echoing guitar chords and a particular emphasis on the lines “I'll sell my soul for total control” created a composition that outlined the desperation and subtle obsession for authority. Total Control was followed by Perth Girls, which included an impressive breakdown and allowed May to display her guitar playing skills by thrashing out a solo. After playing Mammalian Locomotion, May signed off her performance with a self-proclaimed encore: a cover of Ginuwine's Pony. The song followed the recurring theme of sexual undertones that were peppered throughout May's performance and songs, uncovering a subtle nymphomania that only added to her further empowering presence on the stage.