Live Review: Tully On Tully, Tulalah, Laura Smock

Despite Melbourne Music Week being in full swing across the city with dozens of free gigs sucking punters from lounge rooms and pubs, tonight's show is packed, attentive and clearly here for the music. The relatively unknown pianist and singer Laura Smock launches the evening and cuts a commanding figure. Standing attentive over a synth, eyes closed and singing breathily with a voice that sounds at once natural and trained, Smock silences the room with the slightest effort, particularly during her song Remain. Given the delicate nature of her music, silences are loaded. Though Smock seems nervous at times, a bold cover of Massive Attack's Teardrop shows that she is a fearless interpreter and, should a platform arrive, massiveness awaits.

Quite how Tulalah have remained an unknown proposition is befuddling, and unlikely to remain the case for long. Ostensibly playing upbeat, jazzy folk, these clearly very accomplished musicians are one of the most imaginative combos around. Sporting more instrument exchanges than a primary school let loose in Swop Shop, Oliver Bannister's double bass and the evocative vocals of Bridie Cotter anchor songs as they spiral and shift, full of imaginative twists and darkly atmospheric turns. Blasts of brass come and go: guitar, ukulele and percussion pull songs this way and that, but never to the song's detriment or pushing showmanship over atmospherics. Occasional whole-band harmonies are stunning when they appear and missed when they're not. Any forthcoming folk festival not putting Tulalah on the bill is selling themselves short.

Speaking of top-notch musicianship that doesn't overwhelm the song, Tully On Tully are loaded with it. Despite not having the honour of being referred to twice in their band's name, the combination of Greg Rietwyk's deft and sparkling guitar, Pete Corrigan's keys, Iain MacRae's bass and Frank Lees' drums allows Natalie Foster (aka Tully) the freedom she so obviously embraces.

Opening song, Going On Like This immediately sets the scene, trumping already-lofty expectations. It is, in short, a stunning example of careering, gutsy rock. Boasting a harder edge than the quirky indie pop they've been pushing before, TOT seem willing to take risks and push themselves as musicians. Older song, So Close, has been reinvented in a powerful and arresting way, with a new emotional strength found in the moments of restraint, belying a rapid maturity. Foster's voice is powerful, expressive and distinctive; everything you want from a singer. With a little of The Sundays' piercing clarity (and fluid, chiming guitar work), Cyndi Lauper's fearless originality and the muscular soul of Renee Geyer, Foster already sounds accomplished. Unlike many of her peers, she and the band defy easy categorisation. Lyrics to their recently triple j-playlisted single, Naked, and its forthcoming follow-up, Stay, featuring another rising star Hayden Calnin on vocals, are exceptional for their boldness. This closing brace of songs cements this as a surprising and strong gig. With an album in the bag, it's a safe bet to say 2013 is theirs.