Live Review: Warpaint, Jonti

Every live performance at The Triffid is an experience, and this one is no exception. Everyone is in good spirits as the weather finally takes on a cooler edge, and droves of people file in through the doors and into the beer garden to enjoy a few midweek beers.

There's a surprising amount of people in the live room (for a Wednesday) as the first act starts and, at first, it’s not expected — you’d assume that the solitary figure walking on stage is just one of the sound guys doing some last-minute checks but, wait, this is definitely more than a soundcheck. The first thought is that Jonti, a man who defies all genres in some form or another, is an act similar to that of Melbourne artist Tash Sultana, as he layers tracks from his laptop with live guitar and begins to sing, adding different notes and effects using looping pedals. His first song is gentle, lovingly crafted, and almost playful. You can hear samples of his own voice weaving in and out of the track and, although there is a bit of a pop tune to it, it’s something akin to a lullaby, or even a slow love song. The way the tune finishes is reminiscent of Sigur Ros, and the way they slowly fade out and with the simplest of notes, almost to say, "Goodbye for now, but it’s okay."

After a few songs, Jonti treats us with a bit of chatter and shows us a bit of himself. He’s quite humble, and a little awkward, but it’s charming — and understandable, as he explains that the recent run of shows with powerhouse gals Warpaint have been his first live performances for several years. He starts up the next song shortly after, and he flits across the stage like a busy working bee as he builds up another creation of chill-vibe electro-pop, layering so many different sounds and samples with precision, and making something so complex sound so delicate. The rest of his set continues in much the same way, with some idle chatter in-between songs as he introduces new numbers and old alike and, when it's time to go, he departs the stage with a grin and a nonchalant ‘peace’ sign.

There’s a little bit of break between acts, and normally here at The Triffid you’d find a lull in the band room, but it’s so hard to depart when you’re having to push through a good hundred people already trying to fill into the room to get a good vantage spot for the highly anticipated Warpaint. Within minutes, the room is packed, and after some time and several ‘fake starts’, which involved lights darkening and fans screaming, the four girls wander onto stage, grins already plastered on their faces.

Within seconds of the first few chords played, the room is almost deadly quiet, and we’re treated with a few beautiful minutes of a glimpse of what their practices might look like. The band move around the room with comfort and grace, and after a brief pause for applause, launch into fan-favourite Keep It Healthy. The use of sample pads by both drummer Stella Mozgawa and guitarist Theresa Wayman sets the crowd ablaze, as guitarist/vocalist Emily Kokal serenades us with her otherworldly voice. Bassist Jenny Lee Lindberg can be seen rocking out, having a great time, and it makes us want to dance as well, so we do. After each and every song they play, an uproar of cheers and applause thunders out, almost louder than the band themselves, but there’s not much time as each song almost seems to blend into one another, the girls expertly weaving magic into every note.

Every song is eerily beautiful and equally mesmerising, each of the members layering their harmonies together to sound like a chorus of angels, almost floating across the stage. Roughly halfway through their set, they pause to announce a new song, and after the near-deafening cheering and whooping that follows, Kokal laughs and clarifies, “We’re playing a new song, not THE New Song.” A few more songs in, and people up the front of the crowd start pleading for requests in-between songs, which sparks some banter from the girls as they joke, “Why don’t we just play this one instead?” and continue with the rest of the planned set, but it adds a lighthearted vibe to the air, and no one is complaining as they punch out number after stellar number.

Finally, unfortunately, we’re nearing the end of the night, and songs Love Is To Die and the previously teased New Song set the crowd alight with joy and renewed energy, and leave us with goosebumps. They end the set on a laugh as last-minute, Kokal accidentally drops her last, lingering note, and they depart the stage as fans wail with despair.

The wails turn to chants and pleas for an encore and, after an agonising five minutes, Kokal walks back onto the stage, a solitary figure, and plays a special request for us all: one of the songs being screamed up to the stage earlier in the set. The soft, almost devastating lyrics of Baby flow around the room, and not a breath is heard anywhere else. Right when we thought we were content with the night, however, the rest of the band appears back on stage and once again we are blown away, this time with a second encore. The hypnotising, erratic drums of Bees fill the room and with our last stretch of energy, the room is filled with dancing, waving bodies. It all comes to an end too soon, and with a last wave goodbye, Warpaint depart the stage once again, leaving us all to wander outside and enjoy crisp night air, before heading on home for the night.