Live Review: Chet Faker, Yumi Zouma, Rat & Co - HQ

Having just released his debut record, Built On Glass, following up his highly successful Thinking In Textures EP (2012) and a side collaboration with Flume on the 2013 Lockjaw EP, Chet Faker (formerly known as Nicholas Murphy) graced Adelaide in the sticky-floored HQ as part of his nationwide tour.

Opening the night to a lonely handful of fans huddled at the barrier, Melbourne's Rat & Co delivered a short yet solid set of beautifully ambient, electronic sounds. Tracks seemed to melt into each other with a delicate blend of acoustic instruments and synthetic noise. Bringing a dreamy stillness and only once disrupting the effortless performance by “pressing the wrong button”, the threesome worked interchangeably between sharp drums, synth and echoing guitars.

Next up was retro pop group Yumi Zouma, changing the pace of the evening into an upbeat, '80s karaoke vibe. However, with the venue now at capacity, the lack of depth in performance didn't seem to captivate the masses. Although Zouma grooved it out on stage in a fittingly bright blue playsuit, the band's stage presence seemed a little forced and the chemistry between members was lacking.

With fans now restlessly awaiting the main act, the bearded guy who'd previously been running around the venue setting up previous sets emerged on stage, only this time taking a place behind the keyboard. The uproar from a previously mellowed-out crowd was explosive. Lulling listeners with an acoustic version of Archangel, the ease and fluency of his vocals were flawlessly on point.  

The first half of the set showcased Murphy's extensive talent with electronic house production, including I'm Into You and a special few minutes of a spontaneous improvisation, arguing that performers shouldn't be faultless and ought to openly “fuck up” on occasion.

A consistent pleasure of the evening was Murphy's ability to not just connect with the audience, but enlighten them. He spoke of the importance of actively enjoying a show instead of watching it through a mobile phone, asking everyone to stop taking selfies and just be present, at least through the hugely popular No Diggity cover.

Moving into the second half of the set, we were introduced to a drummer and guitar combo, bringing a more traditional set-up. With a soaring cover of Jeff Buckley's I Want Someone Badly, the extra dimensions of sound didn't overshadow Murphy's velvety vocals in the least. Soulful R&B favourites, Blush and Drop The Game, had fans moving and appreciating how easy Murphy's touch on house music was to dance to.

Closing as he had begun with a stripped-back, lounge version of Talk Is Cheap, Murphy had delivered it all. Everything that came off the stage was individualistic, showing off his distinctive understanding of what works, yet with impressive flexibility in a range of genres. There's no question that, surprisingly, with only three years' experience in professionally making music, Murphy's future is incredibly bright.