Chet Faker ProfileThere were already people crowded around the stage and lounging on the Enmore floor when Melbourne's Rat & Co hit the stage. This atmosphere immediately set up the night as like a festival, and Rat & Co were the early afternoon set, with everyone feeling pretty relaxed. Their music is full-bodied, with guitar lines and bass pushing the noise-pop beyond mere soundscapes, but warbling mid-song detracted.
Although with somewhat stronger, but not completely confident vocals, New Zealand's Yumi Zouma failed to really enthral. They were no doubt having a good time, daggy dance moves and all, but there was something a little tired in their oft-trite tracks.
"The most squeals came from No Diggity, when the whole crowd began to bump'n'grind."
Chet Faker, aka Nicholas Murphy, sold out three nights at the Enmore. Three. The place was chockers with young women, loved-up couples, electro-lovin' young men, and likely a number of beard fetishists. Faker is beloved by many, and no wonder. He's a no bullshit artist, waxing lyrical throughout the evening about being an independent musician, about the nature of live performance, even about his dog Bessie, and wooing the audience in the process. And when he got out from behind the decks he had even more power as a performer and singer-songwriter-producer. With help from a guitarist and drummer, Faker was able to do justice to To Me.
He dropped Drop The Game mid-set, with a shout-out to co-producer Flume. But the most squeals came from No Diggity, when the whole crowd began to bump'n'grind, with Faker admonishing those with their phones. He requested we just have one song without them. He closed with single Talk Is Cheap, which was as emotive live as on record, and took the set highlight crown even from Bessie's favourite, 1998. No encore, just an extended set, because, as we said, Chet Faker is no bullshit.
