Who: Broods / Moby Rich
Where: Enmore Theatre, Sydney
When: Tuesday May 28th, 2019
Review: Georgia Marley (Twitter / Triple J Unearthed / Soundcloud)
Photos: Cath Connell (Website / Facebook / Twitter / Instagram)
It’s still cold in Newtown’s Enmore Theatre as the explosive Moby Rich begin their support set. They are oozing self-confidence and performing with an energy that is typical of any LA band. Securing this tour in Australia is a crazy opportunity for them, and they’re here to make the most of it. Their sound is huge and punches you straight in the gut, and within their first two songs, it’s clear the audience is won over.
Even digging into a couple of slower songs, Moby Rich doesn’t lose the audience’s attention. We find ourselves bobbing along, and we're not alone. There’s a group to the side of the front that are going crazy, arms flailing and faces overwhelmed with joy. As more people trickle into the theatre, Moby Rich’s fanbase grows.
They throw a cover of Weezer's “Say It Aint So” into the air and everyone in the room is stoked, the energy levels are rising and the cold doesn’t seem so bad by the time the lights go down on their set. It’s hard not to overhear the quiet mutterings of other concertgoers, wondering who we just saw, wanting to find out more.
It’s hard to imagine what’s to come after Moby Rich’s crazy set, but after releasing their third album Don’t Feed the Pop Monster earlier this year, Broods (Georgia and Caleb Nott) are back for their long-awaited return to Australian stages. They strut onto the stage with blinding strobes flashing in each direction. The Enmore Theatre is teeming with Sydneysiders who have braved the cold to stand in this crowded room, and catch a glimpse of one of the most notable live acts to come out of New Zealand.
Launching straight into “Sucker”, the crowd is loving it, absolutely frothing at Georgia’s steady vocals and moving along with her. It’s an incredibly strong start, the whole band grooving along, and the room vibing harder every chorus.
Continuing with hardly a pause for breath, the moody “To Belong” is a bit of a step down from their undeniably upbeat beginning. It feels too early in the set for such a change in pace. As a result, it seems a little bit detached down in the audience, but Georgia is giving it her all nonetheless, self-assuredly pushing through the track.
Moving through their next two songs, “Eyes A Mess” and “Everytime You Go”, the audience is starting to warm up just enough to sing along with the chorus of the latter, and as Georgia removes her jacket, it’s clear the energy of the show is about to change.
A sample pad is struck. There’s a low drone in the background which isn’t identifiable as any particular song. Enter the vocals and it’s shocking to realise this bass heavy, slow thing they’re revealing is actually a new arrangement of their song “Superstar”, from their debut album released in 2014. The crowd is ecstatic, and there’s a real atmosphere of enjoyment and surprise lingering in the air and through the next song “Why Do You Believe Me”.
The showgoers are collectively hyped up for “Hold the Line” and “Are You Home”, back to back bangers from Broods’ second LP release “Conscious”. It’s clear that these are so far the crowd favourites, the voices threatening to drown out the PA itself. Caleb seems to be having the time of his life on the bass, and Georgia is dancing with the crowd. The next two songs; “L.A.F.” and “Free”, carry the same energy. It’s bouncing off the roof and around the walls.
The brother-sister duo really shines in “Too Proud”. This is the first track they have released where Caleb has the opportunity to take the lead, and watching them perform it is an intensely wholesome experience. Performing it standing back to back, Georgia is making a habit of looking out to the audience and gaging the overall reaction. She is completely beaming with pride. And Caleb does extremely well at the whole thing, people in the crowd quietly remarking how extremely good at singing and performing he is. Georgia’s pride for Caleb peaks as the song ends, and the duo turns around to give each other a hi-five.
Donning an acoustic guitar, Georgia is still riding the high of her brother’s killer performance, and can’t stop smiling through the sadder songs “Falling Apart” and “Dust”. Her control over her voice is incredible. It’s clear that the audience are digging the new positive energy she is emanating with her performance, as energy levels rise and people sing louder and with more enthusiasm.
Heading into the back end of their set, old favourite “Bridges” ignites the room. “Hospitalized” has a crazy energy and people are absolutely losing their minds. Bodies are swaying, everyone is watching Georgia move so confidently across the stage.
In the no-bullshit anthem “Old Dog”, she is literally running from side to side on the stage, going nuts, and the audience is loving it, many people just watching in awe. In the final crescendo of the song, she whips the mic stand so aggressively in her act, that the microphone goes flying out of its grip.
Georgia finds the rogue microphone, and the whole band gets into the rhythm of “Everything Goes (Wow)”. All grooving in sync with the audience, who are dancing with their arms and voices high.
“Life After” is an ethereal experience. Georgia has appeared on another level of the stage, waving her arms and watching over the band and punters. The lighting in this song is really incredible. Illuminating the semi-circle behind Georgia with a brilliant sunset-orange while keeping the surrounding backdrop darker gives the extraordinary impression of divinity.
Announcing that we’ve come to the final song, both the audience and band seem disappointed that the show is coming to an end so soon. “Peach” is perfect. Hands in the air on “high”, hands down on “low”, everyone jumping and dancing and getting extremely into the song. Broods seem so unwilling to let it all end.
After some extended applause they’re back, playing “Couldn’t Believe” from their second album. It’s an incredible send off. The glittering synths are pulsating through the room, through the bodies, and it feels so unbelievably surreal. A crew member is visibly dancing, unashamedly in the wings. Even as the band walk off the stage for the final time, they leave us cheering, stunned.
Catch our full gallery of photos from Broods in Sydney after the jump!