Her music documents her life in the spotlight. Model, actress, whatever Talk to the highs and lows of fame. Eclipse drunk Talk about the sloppiness of infidelity that is encouraged by the party lifestyle. It’s easy to understand how her indie-pop skills make comparisons with Mazzy Star, as a Swoel Ballad On this love Bring out the lightning in her voice.
A member of the audience screams her name enthusiastically throughout the show, often followed by indescribable confirmations. At one point, waterhouse with them tries to deal with their message, to which they do not respond, and she responds jokingly: “They have become silent.”
Some fans flew from Interstate to see her, and video called friends and family members throughout the show. A fan in Sydney is brought to stage to serenad Johanna.
Waterhouse somehow manages to transfer a ‘typical cool girl in the bar’ into her stage staff with an earthly personality. She gives a humble appreciation to her fans for making her feel so good and “so loved”.
She is one to look at as she sements her career in music.
Revised by Vyshnavee Wijekumar
Music | Rising Festival
Japanese breakfast ★★★
Pica, June 5
“It’s so cold here! What’s going on? ‘ Michelle Zauner says, driving force behind the Japanese breakfast in Indie. Yes, it is currently cold in Melbourne, and especially in Pica, a large empty barn in Port Melbourne with uneven concrete floors and Unlit Portaloos. Everyone wears massive coats and socializing in our collective body heat, while our friends at the Jessica Pratt shows in the warm, acoustic luxurious Preconcases.
Michelle Zauner and Japanese breakfast in full flight at Pica.Credit: Martin Philbey
But I’m at a Japanese breakfast show and I’m excited about it. It’s been eight years since they last visited, and since then they have set out the breakthrough hit album Jubilee And this year’s literate, almost baroque For melancholic brunette (and sad women)and Zauner wrote a best -selling memoir, Cry in H Mart. She writes songs with emotion and pathos, and performs it irresistibly.
The six-piece opens with three songs from the new album, All Dripping with Zauner’s wonderful lyrics and the band’s rich instrumentation. She’s in a fresh shirt and torn tights. Saxophone dances with flute while the lights play with the stage smoke. “The breeze wears salt / and drinks a milky sauce / he throws his gaze towards the sea / the Winnbago,” she sings on Orlando in love. It is dreamy.
The sound bounces around indie genres. Honey water Lean in shoegaze. Slide -branch – What she introduces with a scream of ‘No More Melancholy!’ – Play with disco. The guitar finger disk comes out for the rural Men in barsWith drummer Craig Hendrix sharing the choir, a part originally performed by Jeff Bridges.
Zauner’s voice is so expressive and full of intention throughout, and her presence is tirelessly warm and windy. She sets introduced Winter in la It is a contrast that may apply to the entire set of “being” miserable in lovely places “.
It may have been a cold Melbourne night, but there was nowhere else that the fans of Japanese breakfast wanted to be.Credit: Martin Philbey
It is not easy to tour Australia in the 20s. As Zauner tells us, it’s so far and expensive (“It’s expensive!” Someone confirms the crowd). But even with high overhead, Zauner did not hurl on the massive gong in the back of the stage, only for the chorus of Paprika in the encore. Correct decision.
The closing of the night is a spread of over her career: Paprika and the bubblegum pop of Be sweetdebut album classic Everyone wants to love youand the speed Dive woman.
Revised by Will Cox
Dance | Rising Festival
Kill me ★★★
Southbank Theater, until June 8
It is said that all bad art is the result of good intentions. What about wonderful art – is it sometimes the result of bad people? Self -serving, manipulative, maybe even a little cruel? Argentine choreographer and dancer Marina Otero does not answer the question, but she asks it well-to-do, shameless and with a lot of self-mythologizing flair.
Kill Me shows as part of the Rising Festival. Credit: Mariano Barrientos
Otero tells us at the beginning of Kill me That she originally wanted to make a show about love, obsession, narcissism and deception. In fact about her ex-boyfriend. But who would finance it? No one, apparently. So she renamed it a show about mental illness. And look at her now: crazy, bad and in great demand.
She is put together for the ride by four women who stay naked throughout the show, and each gets the chance to share their experiences of psychic instability. Then there is the wonderful Tomás Pozzi, thrown as the reincarnation of Nijinsky. His version of Petrushka – All insane hops and crushed velvet – are at the same time ridiculous and strange.
Load
There is a lot of talk in Kill me. Some of them are serious, others are not. It is difficult to know how deep cynicism runs. The show is an unmistakably entertaining mix of dance, music, monologue and sight gags, which is redundant between raw confession and theater, but there is an atmosphere of unreality to everything.
In a self-capturing speech near the end, Otero lists her regret: professional compromises, bad choices, wrong life. Theater changes nothing, she concludes. What does it matter if the intentions are good or bad? What does it matter whether it is true or not, as long as it’s nice?
This is what makes her statement of support for the people of Palestine at the end of the show so unexpected. Sincere, undoubtedly and possibly spontaneous, but dramatically contrary to everything around it. Oddly, she follows it with a half -hearted Singalong to Miley Cyrus Wrecking Ball. Again, it’s the wrong song, completely the wrong song.
Judged by Andrew Fuhrmann
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