Alex Cameron and Spike Fuck – took the stage for a night of well-conceptualised stardom. Channelling a Vegas pastiche, both acts employed nods to glamour and fame throughout their performance, capturing the crowd with a graceful stage presence and bold moments in the limelight.
Spike Fuck took a solo stance this time around having just performed with her eight-piece band last week at Laneway Festival. A dynamic shift is what’s expected, although not for Spike, whose stunning voice and dreamy backing tracks was enough to move any crowd.
Spike’s fabulous, smile-adorning moves continued to fill hearts and souls; a soft throw of the microphone from one hand to the other, an elegant drop to the floor, a proud rise as she twirls. Spike’s not doing her bit – but simply expressing her heart.
‘Guts’ steals the crowd’s attention immediately, as her dedicated appreciators notice even the smallest of vocal variations. Spike’s backing tracks will never send your insides unmoved, with the driving drum machines drawing parallels to Q Lazzarus’ seminal track, ‘Goodbye Horses’.
A certain melody then comes about familiarised only to Kim Carnes’ ‘Bette Davis Eyes’. This signals Spike’s ending dash, thanking her loved ones before departing the stage gracefully.
A shared anticipation of Cameron’s near commencement floats among the crowd. Drinks are filled and final positions are sought out. Cameron arrives with his incredible live band featuring business partner, close companion and saxophonist Roy Malloy. Although, who’s that I see? Surely Jack Ladder isn’t so casually shredding guitar in the background without a sole mention of his presence. I’m then to quickly remember what I love most about these musicians, they’re modesty at times of great triumph. Jack Ladder takes it away.
Cameron commences with recent tracks from his 2017 album, Forced Witness. ‘Studmuffin96’ begins and the crowd throws their hands around one another and sing aloud. Malloy greets us with nothing short of a blasting sax solo.
‘The Comeback’ sits as the crowd’s favourite, and Malloy takes a seat on his stool remaining restrained, focused and completely enthralled in the moment. His fluidity and flow are what draws the crowd throughout the evening.
‘Candy May’ we learn was initially meant as a love song, until Cameron sung it to his lover and she cried. He then acknowledges it might be more suited as a breakup song.
‘Stranger’s Kiss’ begins and I toast as my most cherished song of the evening unfurls — marking possibly the most widely cherished ever released by Cameron.
‘Running Out Of Luck’ we learn has Las Vegas influences and ‘Marlon Brando’ concludes as Cameron fully steps into his character; swooshing dance moves, slicked back hair, crouching down low as he spreads his hands across the room.
The band depart, much to our despair, although an encore soon follows for a blast of Cameron’s classics, ‘She’s Mine’ and ‘Taking Care of Business’. The dreaminess lives on.
Highlight: Angel Olsen’s part in ‘The Strangest Kiss’ taken by Cameron’s incredible band member.
Lowlight: A group of unnecessarily rude girls in the front who elbowed my girlfriend and I out of the way and made some rude remarks. Respect ladies.
Crowd Favourite: Candy May
