Live Review: Jesse Davidson, The Settlers Of Catan, The Rememberz - Pirie & Co Social Club

Appropriately held at one of Adelaide's newest venues for intimate live music, Jesse Davidson's national headline Ocean EP tour brought together a celebration of upcoming young talent originating from the city itself, showcasing at the very cool Pirie & Co Social Club.
At the tender age of 18, Davidson is just one of the many rising local artists still in their teens, yet contributing to an admirable new music revolution of young performers. In 2012 Davidson's single Flaws was runner-up in triple j's Unearthed High competition, where he was promptly signed by Warner reps, and in 2014  released his delicately crafted Ocean EP.
Two-piece indie rock duo The Rememberz were first to bring life to the moody, candlelit basement of the Social Club. With a sound rolling between '60s retro and alternative rock (reminiscent of Nick Cave & The Bad Seeds), the Port Adelaide pair swiftly warmed the room up with easy listening tunes Let Me Be Your Girl and Don't Get Up.
The Settlers Of Catan followed up with a heavier, '90s garage style, bringing a hyped stage presence and waking up the settled crowd. Featuring members from Bad//Dreems, their ragged Australian edge shone through with powerful vocals and driving guitars.
With the crowd now highly anticipating the main act, Jesse Davidson graced the beautifully timbered stage with a slightly awkward, albeit humble presence. Accompanied by Ben Zubreckyj on drums, Davidson introduced a hazy, atmospheric stillness into the room, accompanied by progressive guitar and gentle vocals. The sophistication and lyrical depth of the performance disguised Davidson's age, presenting him as an experienced artist with surprising familiarity in making music. After EP favourites Flaws and Winter, a lush cover of James Blake's Retrograde swept over the crowd with ease, romancing listeners with raspy, yet undoubtedly matured vocals. The smartly-dressed 18-year-old had suddenly and completely owned his performance. He transformed into a natural showman, effortlessly connecting with the crowd and leaving the stage to play amongst fans, creating a contagious and reciprocal chemistry.
Davidson delivered more soulful, dream-pop sounds with Big Bois Gotta Eat (apparently written about a guy who couldn't stop eating doughnuts), followed by a ghostly closing cover of Elvis Presley's Love Me Tender, showing off his flexibility in individualising an arrangement. Leaving the crowd desperate for more with a relatively short set, Davidson made a distinctive first impression, unquestionably destined to return with more beautifully crafted, age-defying tunes.