The stars truly aligned above Supreme Court Gardens last Sunday night. A relieving cool breeze after a warm day and the long weekend, the sounds proceeded seemed dedicated to the evening without planning.
Nai Palm, vocalist for Melbourne based group Hiatus Kaiyote, took the stage during sunset’s final moments.
Surrounded by unoccupied instruments on stage, and domineering buildings around the venue, she stood brightly and confidently with her Jackson guitar headstock raised to eye level.
Smooth jazz chords and driving rhythms with a rich, filling tone, along with a dynamic, soulful voice, welcomed arriving audience members, in search of prime real estate on the grass.
In the dark night now gracing Supreme Court Gardens, sweeping organ sounds rose many attendees up from their low chairs, picnic rugs and patches of grass.
As the standing area compacted, Sampha appeared onstage atop a riser surrounded by keyboards. His all-white outfit ever more illuminating in a matching coloured spotlight.
The opener, Plastic 100℃ from 2017’s Process, came with a reworked, pounding electronic drum intro. Well fitting for the start and a sign of what was to come.
Sampha and the group of surrounding musicians with their own arrays of keyboards and percussion instruments, helped translate the electronics heavy music into a live setting. Bringing about a light sway amongst standing members of the crowd.
A trio of songs from 2023’s Lahai, brought the London singer down from his podium to stroll across the lower stage level. Leaning towards the crowd as walked, making his smooth, sweet voice resonate ever deeper.
Following such tenderness, Sampha and the majority of his bandmates retreated to stage left circling a group of drums for a thunderously raw rendition of Without.
With the exception of a few brief breaks to greet the audience in his pleasant cockney accent, much of the show was more a curated soundscape based around his songs as opposed to churning songs out with intermittent silence between. A moment of clarity from this was provided in (No One Knows Me) Like the Piano, which saw Sampha stand alone onstage.
Gracefully tapping at a piano sound in the same white spotlight from the show’s start, again displaying his tender voice. After returning to the stage for an encore of Can’t Get Close, he kindly prolonged his exit by signing a few autographs for fans close and quick enough.
Perth Festival’s contemporary music program offered another interesting mix of vibes, which is to be expected. While full and thumping, the way the music blended, accompanied by the nice night under the stars, brought a romantic feeling to the evening.
Sampha was in town for Perth Festival 2024. Stay tuned for the 2025 program at perthfestival.com.au
AJ Mahar is a Perth based arts writer. A former musician, he brings his wealth of knowledge and experience to print. Along with a passion for all things creative.
Images: Cam Campbell
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