Opener, Ami Dang, makes gorgeous, sitar-based ambient music. It’s a masterful splicing of the traditional and modern as the sitar weaves and billows amidst electronic washes, occasionally lifted by Dang’s ethereal, yet commanding voice. Unfortunately, given her relatively gentle tunes, there’s a sense of growing chatter towards the back as late arrivals or the uninterested busy themselves.
With the restaurant area cleared of (most) tables and chairs, it’s a reminder that Mono is a surprisingly big space, and it feels like every available spot has been filled tonight. Bandleader Tamara Lindemann is feeling a little under the… weather, so is forced to proceed with perhaps a little more cautious than usual.
She starts with ‘Wear’, ‘Loss’ and ‘Separated’, songs to ease in both the band and crowd, warming up the jangly bass lines and jaunty piano, with the latter giving the most space for Lindemann to start stretching her vocals. It feels like she’s sussing out the room, peering from side to side and getting the lay of the land. It’s an admittedly odd space, with the majority of the crowd off to one side, rather than right in front of you, and the large hollow space in the middle of the room makes it feel like you’re in a giant teapot. But all part of the DIY charm, right?
‘You and I (On the Other Side of the World)’ is a rare glimpse to pre-‘Ignorance’ days and a song that fizzes with a bit more energy than the spare album version from 2017 thanks to the full band. They’re a tight ensemble and clearly eager to impress, which is understandable given they released one of 2021’s best albums and have only just been able to tour it. For this reason, it’s the hits like ‘Robber’, ‘Subdivisions’ and ‘Parking Lot’ that get the people going.
However, perhaps due to Lindemann’s developing cold that would ultimately result in a cancellation the following night, the most emotionally resonant moments are the songs that hew closer to ballad territory, utilising mostly sparse piano. Single song encore, ‘To Talk About’, from the recently released ‘How Is It That I Should Look At The Stars’, is an excellent example of this, also featuring guitarist Ben Kidman in a rare vocal performance. It’s a broad, but powerful end to the night – one that is perhaps more low-key than hoped for, but still roundly impressive from an artist who seems to be hitting her peak after years of being egregiously overlooked.
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