Live Review: Laetitia Sadier Source Ensemble

Tonight offers one last chance for Melbourne's fashionistas to get completely lost in the froufrou fantasy of Dior's haute couture.

While some are here to admire the frocks, shoes and accessories — and perhaps take notes for their Cup Day outfits — plenty of others are here to sip champagne and gossip. Laetitia Sadier draws out the music fans in the crowd. Given the distinctly French feel of the evening, it's entirely appropriate that upon stepping out onto the stage she greets us with an excited "Bonsoir" in a thick French accent.

It seems like such a long time ago that Stereolab broke up. While fans bemoan the group's demise that musical journey ended in 2010, Laetitia Sadier, the group's singer, has been active releasing solo albums since. This year saw the release of Find Me Finding You, the first album by the Laetitia Sadier Source Ensemble. Showcasing this album, the set kicks off with Undying Love For Humanity. Despite the rather serious title, the tune turns out to be a light and breezy Bossa groove with Sadier's vocals tying it all together into a delightful pop gem. The tune has a distinctly Stereolab vibe, but tonight is all about the new album and there is no looking back on anything that might now be considered retro.

As the show progresses it is apparent that Sadier's new material is perhaps sparser than anything she recorded with her old band. There is a strong focus on the sweetest melodies, more overtly political lyrics, a tendency towards musical experimentation and a certain overlay of cosmic attitude. At her most philosophical she reminds us that our lives are just a juxtaposition of unique and accidental circumstances never to be repeated again. Since Stereolab, Sadier has learned to play guitar. She isn't shredding the frets just yet, but it's noticeable that as a left-handed player she's playing the instrument upside down.

The Source Ensemble are a tight little trio. Their sweet vocal harmonies are perhaps the most delightful element of the mix. Emmanuel Mario's drums tend toward repetitive Kosmische beats. Nina Savary, coming from a family of well known French thespians, plays keys with a gracious smile. Apart from wearing her politics on her sleeve on cuts like The Woman With The Invisible Necklace and Reflectors, Sadier throws in the odd love song like Galactic Emergence and Love Captive, which charm the crowd. Needless to say, the set simmers with a certain sense of cool.

At times the band is distracted by the amount of noise in the Great Hall with Sadier commenting that she feels as though she is playing at a railway station. Nonetheless, the crowd's response is rapturous. Sadier rounds off the night by going it solo for a reflective cover of Gershwin's Summertime, which transports us somewhere warm and lush.