Gig Review: DH1 x Wayzgoose at Osbournes

On the last Sunday of January, DH1 Records and Wazegoose magazine put on a night of student music that showcased the unique allure of a lineup that is perfectly misaligned. The three acts present brought influences from all across the musical arena into the dim lighting of Osbourne’s cocktail bar, which made the gig uniquely versatile and compelling from start to finish. At the very least, there sure was something in it for everyone.

The night began much like a horror movie would: with scattered drumbeats, droning sound effects, phantom-like saxophone playing and a crowd of people waiting on a sense of cognizance that never came. Instead of the usual indie-rock, opening band VCO took us somewhere between a jazz lounge and a DNB concert; creating an intentionally overwhelming storm of sound that shifted as soon as you began to get a grip on it. From behind the soundboard Samuel Shepherd led the trio through an improvised set that left no room for vocals, and member Alex Wardill switched between the flute and saxophone while drummer Freddie Krone held down (and sometimes completely redirected) the beat. The musical rapport of the three despite their commitment to quick changes in tempo and mood was unmistakable, and left the audience shocked by their own receptiveness to the bizarre-yet-beautiful kickoff.

Osbourne’s quickly traded in atmosphere for intimacy with the arrival of Clark Rainbow. With a conspicuously cool pixie-punk outfit and a voice like bell, the indie pop singer delicately moved through several original songs, including one she recently performed at a hometown festival for a crowd of thousands. The music was openly of its time— combining the endearing vocals of singer-songwriters like Clairo and Claire Rosinkranz with hyperpop backing tracks made in the likeness of PinkPantheress. Her lyrics transitioned from descriptions of infatuation to critical observations of materialism and greed despite a very consistent stylistic structure and added an interesting edge to the generally palatable set.

Lord EMU began with a cover of Ricky Martin’s ‘Livin' La Vida Loca’, which was perhaps the best clue they could have given with regards to their performance style. Their front man (whose mannerisms were shockingly alike Jack Black’s in School of Rock) maintained an unbelievable amount of energy throughout a mix of covers and originals and was well-accommodated by a band whose sound reverberated throughout the space. The four-piece didn’t shy away from theatricality- there were solos taken, bounces coordinated, and microphones dislodged. Electric guitarist George Brown did especially well at breaking through the walls of sound that built up throughout the set, and stepped into the spotlight each time the originals were in danger of melding together.

The show concluded with two surprisingly well-selected covers: ‘Simple Plan’s What’s New Scooby-Doo?’ and Electric Six’s ‘Gay Bar’. It was clear that both the players and the audience were energised by the performance rather than depleted, and it was in this spirit of passion and mutuality that the gig drew to a close.

By Lianna De Bartolo