Live Review: Gordi, Danny Barwick

Gordi

In Gordi and Danny Barwick, lucky gig-goers to Republic Bar were treated to two artists entering new phases in their blossoming careers.

The night began with accomplished pianist and brooding soloist Danny Barwick, whose passion for his music was felt immediately by the audience. Deep brass and deep bass featured heavily in his production, with a sumptuous boom to it that was received with many an appreciative head nod. The artist, who first established himself as a mixer and drummer, felt at home as a performing multi-instrumentalist. What he also demonstrated was a clear talent for poetry and vivid imagery through his lyrics: "Squeeze a breath into red cells for this/Start to see the clouds as cotton." Tracks from his Distance EP were welcomed by the crowd with sincere applause.

Barwick's resonant baritone dripped with deep blues, dense with influences from Massive Attack to James Blake to King Krule. The Melbourne producer was so deeply engrossed in the wobbly soundscapes he created at times that the audience couldn't help but be swallowed up by the scattering of piano keys and rushes of synths. Outstanding debut single Flickering was the clear highlight of the set and is sure to be met with critical acclaim. A wonderful segue to the headliner to come.

When Gordi took the stage to rowdy cheers it was a good omen. And when the Sydneysider launched into her first track, immediately the crowd was awash with joyous vibes. The last time I saw this artist, Sophie Payten, was when she opened for The Tallest Man On Earth late last year, which is an indicator of just how much buzz the young artist has generated.

Back then, the artist was alone on stage. At the warm and moodily lit Republic Bar, she was accompanied by a saxophonist, drummer and keys player, all of whom gelled together and took the forefront at different moments during the show. Percussion-driven openings whipped up the crowd for Long Way and On My Side, with revellers bouncing about for these two highlights in a shining set. Payten told us this was the first time the crowd had chanted along, which drew a loud howl or three. In fact, Payten's album Reservoir sparkled in this live setting, utilising AutoTune to great effect and calling to mind Justin Vernon.

Gordi stands apart from her contemporaries thanks to how real her sound feels live — it's different each time. Payten revealed to the audience that the crowd's cheers had become a permanent part of the vocal loop at a previous gig, at which point eager gig-goers cheered trying to replicate this feat. Payten's deep, rich vocals shone particularly when tracks were stripped-back to piano, acoustic sections and choral synths in So Here We Are and Wanting. While the audience sang along, grinning, the vocals of Payten grew like vines over the ensemble. Crowd members joined in with faux-dramatic bellows, arms reaching toward the ceiling. The high, reverberating vocal effects Payten used through Bitter End sounded more like a flute than a voice. Throughout Taken Blame, many audience members were lost in the sound with eyes closed. As Payten's set came to a close with a crowd-favourite, an ecstatic mosh sang, clapped along, cheered and whistled as the four-piece left the stage.