Live Review: Banks

With the release of last year's The Altar still hanging fresh in the air, Californian singer-songwriter Jillian Banks dropped into Western Australia on Tuesday night to celebrate the success of her critically acclaimed record. Her chosen Altar was The Astor Theatre, a warm, intimate concert hall that would house her latest Australian affair. The 29-year-old attracted an audience of all ages, with the venue packed out at the promise of her soaring vocals and alt-R&B hits.

Banks hit the stage bathed in a sea of red light and deep, thick smoke. Launching straight into a ritualistic rendition of Poltergeist, back-up dancers scythed and twisted to the beat. A spectacle of synchronised dancing set the tone for what was to be an incredibly engaging and intimate concert filled with emotion, passion, and Banks' soaring and powerful vocal range. Supported by only two other musicians on synth and percussion, the gig felt quite stripped-back from what was for a many a very well-produced studio offering - allowing Banks' talent and powerful stage presence to speak for itself.

Second up came Fuck With Myself, a dystopian medley of disjointed bass, mysterious synth and contrasting melodic vocals. Top single Gemini Feed was third on the billing and it seemed not a single member of the audience wasn't completely enthralled, while Trainwreck's deep progressive bass line captured a sea of punters in a swell of bobbing and bopping.

Probably the highlight of the night was an elongated version of one of her earlier singles, Better. Over the next seven minutes the track gained in pace, with the crowd singing along word for word as the tempo upped and the piece evolved into a near-transcendent chant to the gods of early D&B.

Other songs included Waiting Game, another big single from her 2014 album Goddess, with deep synth progression and mesmerising hooks, and This Is What It Feels Like - partnered with a deep blue backlight and a simple synth backing. Mind Games' more somber, slow-paced tone lulled the crowd with a gentle lapping rhythm and softened vocals before the building chorus cascaded into a crashing crescendo. Hit single Brain was next up, again capturing the passion of the crowd from the first chord strike.

Judas, Beggin For Thread and Haunt were chosen to close out the set proper, the last ending with the shredding guitar solo. It was an impressive feat to get every member of the 1200-strong audience up on their feet, dancing and chanting along to a song with such complex lyrics.

The stage lights dimmed as Banks exited, but it wasn't long before a blue haze and haunting synth tones crept back onto the stage, building into the bass line of 27 Hours. Banks reappeared on stage complete with an entourage of back-up dancers to deliver possibly her most polished performance of the night, before thanking the crowd and departing for the last time.

The only criticism one could have is that, at 65 minutes or so, her time on stage felt like it was over too fast. It would have been nice to savour the experience just a little longer, but the atmosphere felt like every punter left the hall thoroughly impressed with Banks' Tuesday night show, and everyone was eager to attend her next sermon.