We were promised a show which tantalised all senses, all while sparking “wonder, excitement, curiosity and entranced surrender.” That was the Supersense aim, and Kimbra’s performance achieved just that.
In line with the ‘festival-as-theatre’ intention of Supersense, there were no support acts – however this didn’t mean there was a wasted minute of sensory onslaught. It began even before the crowd had taken their seats, with a backdrop consisting of gloopy jelly dropping (sound effects and all) projected over the stalls.
An intricate setup, the stage was crowded with technology. Six triggering devices and a microphone stood in the centre, flanked by impressive synth set-ups and a collection of guitars. It was a commanding introduction for the New Zealand singer. Kimbra put her vocals on show while monitoring and maneuvering a flurry of devices in front of her. Minor technical blunders aside, there was a serious sense of wonder in how she brought every track to life.
The first sting of familiarity from the crowd came during a reworked version of Settle Down. It was the first track many had recognised, and this was a topic she’d broached at the beginning, revealing to the audience that the night was for testing out new material.
A change in sonic direction had been hinted at in her last single Sweet Relief and seeing many new tracks make their live debut confirmed that her upcoming release will more than likely be a serious departure from the soaring indie pop many have become accustomed to.
The incredible visuals which accompanied Kimbra’s performance were nothing short of riveting – if not overwhelming, at times. Multicoloured tears flowing into a Nokia…was this a comment on humans abandoning simplicity for technology? Not to mention other projections of skeletons floating in a technicolour sea, or hearts leaking baubles. The highly stylised and satisfying animations sparked many questions. They were thought provoking and an essential element of this multifaceted, sensory experience.
This wasn’t a show for old school Kimbra fans. It dared to be different. Essentially, it was an hour-long performance art piece which let her innermost creative take flight – testing the waters of a new direction.
Highlight: The utterly transfixing Come As You Are – written with Silverchair’s Daniel Johns and in Kimbra’s own words, “about deep stuff.”
Lowlight: Chair dancing. It’s just not the same when you’ve gotta sit.
Crowd Favourite: Some serious shredding in new song Top Of The World.
