Everything was true

With probably the best stage presence I’ve ever witnessed from a solo performer, Paul Dempsey is a talent to be admired. The comfortable, love-worn space of the Troubadour offers intimate seating, which I took full advantage of at the absolute front, knees scraping against the edge of the stage.

Support act, Dan Parsons, although perhaps a bit too Pop-rock for the patient Something for Kate fans, provided some appealing originals on both acoustic and electric guitar. His cover of I Will Follow You into the Dark catered for Death Cab for Cutie listeners, who also contributed vocals, despite an accidental rearrangement of verses, and a mistaken lyric for which my friend almost decked him.

Casually surfacing from behind the bright red theater curtains, musical giant, Paul Dempsey, appeared in tailored pants and jacket, collared orange shirt and scruffy leather shoes. Wielding his trusty acoustic and hand-written set list, he welcomed the field of onlookers. Take Us To Your Leader, a track from the soon-to-be-released record, immediately wooed the crowd, who appeared gushing and enthusiastic with wide smiles like newly-smitten lovers. Dempsey previewed almost every song from the album, with current singles Out the Airlock and Ramona was a Waitress, along with unheard tracks such as Bats, Theme from Nice Guy, and Safety in Numbness.

Of course, he obliged SFK followers, who reveled in the nostalgia of Beautiful Sharks, The Astronaut, Say Something, and personal favourite, Reverse Soundtrack. A plastered and persistent punter was also granted his request for You Only Hide after Paul returned for the encore. During the night, the mellow rocker also paid tribute to his predecessors, covering Elvis Costello’s So Like Candy and Kim Carne’s Bette Davis Eyes. He even threw in an unexpected acoustic take on MGMT’s Time to Pretend, a dark cowlick rolling across his forehead during the final chorus.

In an impressive feat, Paul managed to cater for every type of audience member present at the show. Exiting through the same curtains from which he entered, it was clear that his performance conquered all expectations and fed all curiosities. I left the venue utterly fulfilled and in joyful possession of the night’s set list.

As well as joining the lineup for next month’s Splendour in the Grass festival, Dempsey will be returning to Brisbane later in the year with a so-called “band of brothers” to accompany his solo set. So, make sure you get on board!

Everything is True

I own every album from Elsewhere for 8 Minutes to Desert Lights.
I say, let the fan-girldom ensue.

Even Paul Dempsey got tired of waiting.
Finally, I'll get to check out his solo stuff for the new album next Wednesday night. After all the fuss over recent single, Out the Airlock, and promptly sold-out tickets for his Australian tour, at last I'll get a slice of the pie.

There's just something in the effortless-ness of his vocals, the meticulously-refined thought process behind his lyrics, and the certain 'fruit' present in all of his work. Although I'm not one to usually believe hype, recent coverage of the soon-to-be-released Dempsey project, paired with my aforementioned loyalty to Something for Kate, provides a sense of total certainty.

The Lady in Red

“It’s like a hillbilly party ‘round a fire, isn’t it?” she shouted over the fiery resonance of Goat Boy’s copper cylinder-induced instrumentals. Her raspy, beer-soaked voice ricocheted off the walls as she approached the chorus. The long red dreads gathering on her shoulders made her look like a modern Medusa. Accompanied by Jeff, a guy who dressed like a midnight trucker, but showed he was worthy on a 1950s Dobro, they were like two beautiful stomach bugs that made their way to your insides.

Dallas Frasca is a great independent blues and roots act, and after touring with Xavier Rudd, and collaborating on My Own Eyes, she’s certainly gained a following. Chatting with her and Jeff afterwards at their little merch table made me feel like I’d known her my whole life. I believe I acquired at least three hugs also.

Often compared to Janis Joplin, she can turn on the intensity like a switch, with a voice so strong that you could probably hear every word perfectly without the microphone. She was probably lead vocals in some Neo-Feminist metal band during her high-school years, but then later found her niche and grew dreads.

Her latest album snatches its title from the pumped-up, knee-slappin’ly good Learn Your Routes, which is sure to become a roots anthem at some point in the future. The album also features an intense acapella addition entitled Don’t Let No-One, which she used to closed her recent show at the Troubadour. If you're in the mood for something more sedated, then have a listen to Thirst For Your Love, but either way, be sure to catch all the crazy folk-rock roots business when the duo come back later in the year for another round.

Dallas Frasca and her Gentleman: they’re like the dirty, dried-up scabs that you can’t help picking at.