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Magic Man proves it’s an alchemy worth toiling for. Its catchy melodies and sensibility informed by ’60s references more than contemporary ones. It’s easy to like and not too much of a stretch to love.

Fortunately, it’s not a diamond in the rough, buoyed by a collection of winning tunes. Even if the titular frontman apologised for the brevity of the set – ‘We’ve only get seven songs!’ – it was certainly a case of quality over quantity.

Opener Old Fashioned Camera revealed that within the tall, rakish frame of Spender dwells the true voice of a soulman, while the spare rhythmic emphasis was reminiscent of Spoon’s choreographed style. Meanwhile Tonight is what you suspect is the group’s unique version of a ballad, its irresistible groove, tethered by Luke Hodgson’s rich bass line, leaves spare guitar notes dangling in repeated suspension.

The evening wasn’t without its hiccups, this being the first unveiling of the band after all, but even We Go Painting retained its rugged-edge build on a singular bluesy riff, in spite of some technical gremlins. The unit wisely chose to finish with a rocker, the nervous energy of I’m Best When Depressed is a cheeky blast of grating guitars and speedy abandon, even squeezing in a little bit of audience call-and-response in the stuttered shouts of “passive aggressive/psychosomatic.” Despite Spender apologising for the brevity of the set, ‘we’ve only got seven songs!’ it’s a case of quality over quantity.

His forthcoming debut, Modern Pest, will showcase both his production skills, as well as his impressive connections, promising more than a few surprising guest vocalists. With plenty of potential, and talent, an unbeatable rhythm section behind him, a head full of smart musical ideas, and a bowtie – he’ll be fine. Spender, both the man and the moniker, is definitely one to watch.

Loved: Never Again .

Hated: That there were only seven songs.

Drank: Asahi.