Live Review: Meg Mac, Georgia Fair, Xavier Dunn

Solo act Xavier Dunn brought a warm vulnerability to the cold, quiet room, exciting his few rows of guests with an impressive vocal range and honest, acoustic vibes reminiscent of Matt Corby; performing covers of both Bon Iver and A$AP Rocky that somehow sounded almost the same.

Known for their 2009 summer anthem Picture Frames, Georgia Fair seemed to have outgrown this association, not including the song in their set and instead opting for a more mature approach, dressed in matching grey, relaxed suits. The collective found significance through the subtleties in their music; their heavy, triumphant kick drum, low, resonant harmonies, and ethereal electric guitar tones that would float through the open room and linger, swaying bodies with their hypnotic presence. The group explained that after years of "driving them nuts," their new album would be available shortly; the punters - pleased.

The diverse crowd hustled into the elegant Enmore Theatre, eager for the power that was undoubtedly about to unfold. A sigh of relief washed over us as Meg Mac's dark, flowy figure finally graced the sold-out stage. With her Akubra and band of friends head to toe in black, an independent and wildly talented Mac flourished her way through her brand new album, Low Blows.

Known Better was introduced as her first ever recorded song, and it became clear then that Meg Mac was destined to create beautiful things from day dot. Cages (often referred to as "The October Song", she revealed) was addressed through propelling rhythms, a clapping crowd and a band who thumped as if born to it. Didn't Wanna Get So Low But I Had To proliferated her passion and anger, empowering the crowd as they relished in her bravery.

Meg Mac sat down at her keys solo and asked the crowd to ignite the lights on their phones. She played Shiny Bright, and if that wasn't enough to bring a tear to the assorted crowd's eyes then nothing ever could. She illuminated the room.

Much to the crowd's delight, she performed her hit cover of Tame Impala's Let It Happen, recently released via triple j's Like A Version, as well as her infamous cover of Bill Withers' Grandma's Hands - a song, she explained, often gets confused as her own; a misunderstanding she did not seem to mind.

The all ages crowd was most apparent when an infant sporting fluoro yellow ear muffs was raised above the crowd - not dissimilar to baby Simba in The Lion King - to help encourage an encore. Collectively, the crowd knew every word of every song. Meg Mac relays relatable, sincere and helpful lyrics, and between her personability and the sheer vocal power driving her ideas, it is not hard to understand why this lady is so loved.