Live Review: Chet Faker, Thrupence, I'lls

Chet Faker, the project of the ever-so-awfully-talented Nick Murphy, are finishing up a national tour in Melbourne, tonight being the first of two sold-out shows at Revolt Artspace. The gallery and gig space is on a street shared with towering industrial silos. Inside, there's a wide, open room with big oak desks and leather chairs scattered around at one end and a large stage at the other. One of the desks is topped with a four-armed wrought iron candlestick and many large books, the standout being an Encyclopædia Brittanica volume.

In one corner is a large sculpture of a horned dragon dangling in the air. On the wall behind the bar is a thing – perhaps artwork, perhaps functional device – that looks to be a time machine. 

The four members of I'lls are huddled together with their heads bobbing, engaged in their music. Fronted by Simon Lam, who sings while tapping out pitter-patter beats on a drum machine, they play a wonderfully experimental set of electronic pop. Lam's sister Eliza thrums out bass grooves that support the interesting synth sounds and guitar melodies. The standout is their final song When I Know; a lovely slower number in which Lam builds a four-part vocal harmony loop on his sampler that forms the basis of the song. It is gorgeous and, once the song is built, Lam walks over to the real drum kit and adds a huge beat to finish. The sound features great, squalling guitars and an impressed audience cheer I'lls on heartily. 

Thrupence, aka Jack Vanset, is next. His electronic arrangements are beautiful and danceable. He gets the crowd jiving with a minimal groove but then stops after only one song. “Sorry, we're having technical problems,” he says, fiddling with computers and leads. It's okay, everyone's still having a fine time as they head to the bar or rest on the couches. Vanset returns after a time and the crowd swarms back to the stage. Voyages is a great track with smooth beats and prettily chiming melodies that get bodies simultaneously chilled out and warmed up. It's a good vibe. 

The room has filled up. Someone's chewing Hubba Bubba nearby and the distinctive smell brings on a flood of nostalgia. It's time for Chet Faker (aka Nick Murphy). He comes out alone, sporting a dapper, crisp white shirt that seems at odds with his beanie and gruff beard. “This is my home town,” he says. “We've got something special tonight. This is a cover we've played quite a few times, but never like this.” He plays Burial's Archangel on his keyboard, and that voice! This special thing he has: a tone of honey and ash with soulful character, over which he has absolute control. Murphy is a decidedly gifted singer. The crowd is dead silent. The rest of his band appears, the song jumps back to life in a completely new style and gets people moving. Something of an audio wiz, Murphy has recorded mostly as a lone bedroom producer, but the live band comprised of guitar, bass and drums adds energy to the stage and vibrancy to the sound. And they're all very good musicians. Basically, it is wicked cool. “This song is called Solo Sunrise,” announces Murphy. “It's based around a big night, on my own, trying to get home before the sunrise.” It's soulful and crunchy. Kaleidoscopic visuals are projected onto the back of the stage. Murphy says something sexy and everyone yelps and cheers. They get through their set all too quickly, I'm Into You and Terms And Conditions inciting sing-alongs. “Thanks so much guys. I'm sure most of you will know this one.” Yes we do. It is his cover of Blackstreet's No Diggity. The keyboard chords, guitar lines and jazzy ratatat drums all work brilliantly in this arrangement. “Baby, you're a perfect ten,” he sings and swooning ensues, “I like the way you work it/No diggity.” The crowd are singing along again, hips are swaying around the room. The extended rendition includes a brilliant jazzy jam with solos from all band members. Murphy shows off some virtuosity on the keys and the fast-handed drummer earns some cries of “Oh my” from the crowd.

Once it's finished, Murphy thanks us again, puts his hands together and holds them up. He is humble and appreciative. This young man deserves every ounce of the praise he receives.