Live Review: Unknown Mortal Orchestra, Alex Cameron

Corner Hotel is bristling with excitement, Kiwi-Americo group Unknown Mortal Orchestra are sneaking in a string of sideshows while they are in Australia for a slot at the enigmatic Meredith Music Festival. Here in Melbourne, the show is sold out.

Alex Cameron opens the night by slotting himself comfortably into his own quirky niche, taking karaoke jumpsuit wearing bravado in his stride. Cameron takes time between songs to discuss massages and friendship, even a moment to present his associate, Roy Molloy with the Transdev employee of the year award. The whole convoluted stage show is hilariously in line with Tim & Eric, Cameron himself is clearly aware of his own brand of poise and style.

Belting out ballads, backed by Molloy on saxophone and shallow '90s computer beats Cameron eases the crowd into the night in the suavest of manners. Edging towards their final song, Cameron announces how proud he is that he and Molloy have managed to become Australasia's best opening act; the crowd politely agrees.

Bounding on stage Unknown Mortal Orchestra punch out a grunty rendition of Necessary Evil, the smooth soul-infused track from their 2015 release Multi-Love. The album, funk- and soul-dripped is a step aside from the bedroom conceived psych-pop of UMO's earlier releases. Despite his known sleepy nature Ruban Nielson is active on stage, unleashing a blistering solo letting everyone know that the crackling gusto of old is still there. The solo opportunity is afforded to all band members throughout the set, each getting ample time to flash it up a bit.

Nielson is clearly aware of the groups sudden rise in demand since the release of Multi-Love, cheekily questioning whether anyone knows any of their old songs. The set is a solid hour-and-20 with the group delving into all points of their back catalogue making a point of not being 'The Multi-Love band'.

The funked out groove of The World Is Crowded is rock opera-tinged and glorious, building energy before the crowd loses their minds with pleasure when the band launches into their breakthrough 2011 track Ffunny Ffrends, while Can't Keep Checking My Phone is as close to everyone's hearts as the preceding song.

The band leaves the stage shortly before beginning their inevitable encore with So Good At Being In Trouble, bringing some softer soul rhythms to the set and taking on an ultra cool Herbie Hancock groove throughout the track.

The finale is of course the discordantly melodious title track from their latest album Multi-Love, the polyamorously inspired tune giving the Corner what it was yearning for.