Live Review: Chet Faker, Awesome Tapes From Africa, Cleopold

While an interesting project, Awesome Tapes From Africa — an online collection of digitised cassette tapes from various African genres that has morphed into a record label — again didn't really translate into the live setting of the Forecourt. The live AV set was more of a curio than an enriching live experience, with disjointed transitions; while there's something to say about the potentially problematic nature of the enterprise, described by creator Brian Shimkovitz as the issue of "post-colonial thievery corporation hiding behind the thin veil of millennial digital exploration".

When Chet Faker played Hordern Pavilion earlier this year, he almost seemed to shrink behind his beard and panels, seemingly not wanting to be under his own spotlight. This time it couldn't be more different. Faker took to the stage with live musicians, nine back-up singers and renewed confidence for his final tour in support of debut record Built On Glass — it was clear this show was going to be special.

Like hundreds of bluebottles washed up on the steps of the Opera House, people in blue ponchos couldn't be deterred by the apocalyptic weather of Friday afternoon. Now beanie-less, Chet Faker is still trying to grow into those huge shoes he has made for himself, but he looks like he's having a lot more fun doing it. Opening with Bend, Faker serenaded the sold out venue with his signature mellow vocals and soulful beats.

The night really got started with Melt, when four of the nine back-up singers (including Ngaiire) gave the song an incredible multi-layered tone. He showed off new arrangements of old favourites adapted for a more powerful and all-encompassing performance.

Faker's soulful vocals were given the space to shine in simpler and highly emotional moments of Cigarettes & Loneliness and his encore To Me (which featured two saxophones and the full nine-strong choir backlit like Grecian statues). Quieter moments contrasted with Cigarettes And Chocolate where Faker's prowess and high octane approach as an electronic artist almost made him look like a mad genius behind the helm of a war machine.

When you go and see a show at the Forecourt you're going to see a show. With raised platforms on stage, projected high definition shots of Faker's bearded profile set against the lights of Luna Park across the Harbour, huge shadows and smoke alongside the amazingly crisp geometrical projections onto the back of the stage, this show was no exception.

Keeping the tradition of a new cover every tour, Faker surprised everyone when he sung the opening line "Why do birds suddenly appear..." and commenced a heart-warming arrangement of The Carpenters' Close To You.

The phenomenal production of the whole performance was stunning. Impeccable musicians on bass, guitar, drums and sax, not to mention Faker's choir were all key to making this show his best one yet, leaving everyone moving (with confidence) as they closed the night with Talk Is Cheap.