Live Review: Alex Gow & Dan Kelly, Emma Russack

The semi-distorted ambience of Emma Russack begins to ring out like a dissonant church bell throughout the elegant Thornbury Theatre. The crowd begin to take their seats at circular tables, as Russack and bassist Liam Halliwell dive into the melodically haunting If You Could See Me Now. It's clear Russack has an intensely powerful attachment to her music, as the Melbourne singer sways and loses herself in the pointed and personal nature of her lyrics. Even during a technical difficulty that forces her to perform The Wedding Singer a cappella, Russack is a wholesome joy to watch.

Alex Gow's subdued entrance immediately sets the tone for the rest of the evening. The Oh Mercy frontman invites the audience into an intimate, humorous show, stating, "You can absolutely dance. Good luck". Gow is slightly off-key and seemingly nervous to begin with, but as the final chords of Lady Eucalyptus echo through the hall, it's clear we're in for something special. Gow welcomes accomplice Dan Kelly on stage to a well-timed pre-recording of audience applause and whoops, further cementing the jovial nature of the show's progression. Gow and Kelly - or "Codral Boy and Horse-Sleep Man" as they become known for the night - have polarising yet phenomenally complementary vocal styles, which reimagine the works of both Kelly and Oh Mercy in respectful and exciting ways. Gow's Sandy is effortless and genial, while Kelly's Ex Bandido is the epitome of lyrical storytelling. An emotional rendition of NSW band The Reels' Prefab Hearts is both surprising and heart-warming, and the call and response in Kelly's Everything's Amazing grasps the audience's undivided attention.

Watching Gow and Kelly on stage together is like a high school talent show gone right. The two play off each other with expert comedic timing, even using their instruments like extra members of a troupe, and the atmosphere of the performance immediately transports the crowd to where it feels like everyone is a part of the show itself. The pair are musically proficient and able to showcase their clearly refined skills without leaning into pretentiousness or boasting. Kelly's Hendrix-esque 'National Anthem' guitar solo is a jaw-dropping display of his technique and the multi-layered pedal work involved in Bindi Irwin Apocalypse Jam is a performance all of its own.

Ending with Dan Kelly's Dream, the duo have well and truly taken the crowd on an unpredictable ride through their respective works with confidence and familiarity.