(Photographer: Kez Werner)
Kiwi songwriter/musician, Amelia Murray, is the talent behind the bedroom recorded project of Fazerdaze, playing her first out of a series of Melbourne shows at The Curtin Bandroom. This chilly Friday night did not deter the crowd on the trendy street of Lygon who gathered in the bar below waiting for the doors to open for the first of two supports. Kinder opened the night with a cool, breezy indie sound that people took a liking to as they trickled into the bandroom. They were followed by Cool Sounds, who definitely had a lot to look at with a seven-piece band, including a sax.
It was hard for an atmosphere to build, as every time a band ended, the room would quickly deplete as people struggled to fight the urge for a sneaky smoko, causing any ambience to fade. This did not matter, however, once Fazerdaze graced us with her overly polite presence, it did not take her long to capture the audience’s attention. She kicked off by demonstrating her skills by recording herself live then looping and repeating it to continue throughout the song without missing a beat. This was done several times throughout her set and the echoing of her own voice added airy vibes to the whole performance.
As she started to get over her nerves, she asked her fans to ‘take three steps forward’ to fill the gap between her and the very chilled out crowd. Although the mood picked up as she pulled out her biggest hit ‘Reel’. The combination of her dreamlike voice and smooth guitar riffs whisked you away to a sunny day in the park, and got everyone swaying in unison. The performance then took a downbeat shift into a few of her slower songs such as ‘Jennifer’, but by then her fans were completely captivated. Eager to please though, Murray threw in a cover of Wolf Alice’s ‘White Leather’ much to everyone’s enjoyment. Continuing this momentum into the last song, the set was closed with something uplifting that left everyone bopping and wanting more.
When someone says to me ‘one-man band’ all I can think of is a sole individual wrapped in bulky instruments, with symbols between their knees. It did not take long for Murray to change my misconceptions. The whole set was light-hearted, stripped back and highlighted the fun of simplicity.
Written by Jess Vaia