The expanse of St John's Cathedral is awash in blue, pink and gold lights as the sold-out crowd shuffles inside. Appleonia is presented as a duo this evening, a single electric guitar accompanying the haunting voice and eccentric stage presence of Jessica Chapnik Kahn. The moody songs are jagged and winding, and the first half of the set is pleasant without holding any song in memory. Kahn's voice melds quickly from a sweet whisper to a howl, her wild hair tossed around as she sways to the songs. She is an impassioned performer with a fire and strength simmering below the melodies. This is shown most vividly during an old Argentinean protest song sung in her native tongue. Now warmed up, she begins a distinctly more odd part of the night. When playing Precious backwards searching for the hidden satanic message, she tells us she instead heard the words 'heavy Lord it gets', and knocks out a rendition of this reversed, angelic message-infused version. A Gnostic bible is then whipped out and she apologetically and hilariously tells the crowd that she's not preaching at us, and plays a song based on the text that she 'knows makes people uncomfortable'. Set closer She is the Light is simply sublime, and the final unaccompanied notes echo achingly beautiful above our heads.

Sarah Blasko is warmly welcomed and takes centre stage flanked by a guitarist and keyboardist, a far cry from her densely orchestrated albums. Stripped to their skeletons and steeped in the natural reverb of the cathedral, a second mic with added atmosphere is a simple and classy addition of colour to the arrangements. Launching into older tracks All Coming Back and [Explain], Blasko luxuriates in the sound and space. Her head is thrown back and her arms are flung out, conducting an absent orchestra. Melodies are playfully stretched and reimagined, with the rhythmic drive of the songs replaced with a sense of theatricality and majesty. Banter is brief, and oddly awkward in contrast to the clean lines of the performance. Blasko seems torn between evoking a sense of the divine and being her irreverently dorky self. Sleeper Awake is heart-stoppingly good moment, and ends the run of As Day Follows Night songs, leading neatly into I Awake. God Fearing is dripping with attitude, even in this pared back version. The two instrumentalists alongside are fabulous, jumping from one instrument to another and between the three of them, there is not a dropped moment in the whole show. As expected, the crowd is left wanting more and the encore of the mandolin-led Here helps weave the final spell of the Sarah Blasko experience.