Live Review: London Grammar, James Vincent McMorrow, The Kite String Tangle, Mansionair, Wafia

Reverie and feel-good-vibes fill the air at Riverstage Saturday afternoon and evening, as our fair city plays host to the UK's London Grammar on their Truth Is A Beautiful Thing Australian tour.

With the doors opening at an unusually early time of 3.00pm, fans are treated to a mini-festival offering the musical delights of Australia's Wafia, Mansionair, The Kite String Tangle, as well as Irish rising star, James Vincent McMorrow. Concert-goers relax in the cool breeze and warm sun on this not-a-cloud-in-the-sky kind of day. Geared up with picnic blankets and pillows, they recline against Riverstage's grassy embankment in the idyllic spring Saturday sesh attire of sunnies, light tees and shorts, stone-washed denims, and the odd flower-crown.

Wafia's set is modest and understated, demonstrating that you don't need a crammed stage to perform something really special. She unites the worlds of R&B and electronica, smoothly flowing though her singles catalogue, which includes tracks Meet In The Middle, Love Somebody, 83 Days, Heartburn, and her latest release, Bodies. There is an effortlessness to Wafia's voice that entices the listener to simply let go and be lulled into relaxation by the temperate groove which defines her music.

Mansionair open with their 2015 single and crowd pleaser Speak Easy. This talented three-piece indie-alt rock act from Sydney keep their music stripped-back and don't overcomplicate things. Mansionair deliver their best tracks to the quickly growing audience including Hold Me Down, Easier, and recent collaboration with Odesza, Line Of Sight. Singer Jack Froggatt's voice is both wistful and pristine in quality, however, he isn't afraid to show off his impassioned side as he switches to grungy and plaintive tones during Easier. The ambience of each song seems to melt into the next, with multi-instrumentalists Lachlan Bostock and Alex Nicholls showing a keen command of musical space, letting each sound and sample speak for itself in true minimalist fashion.

Solo project The Kite String Tangle takes the show in a definitive step further into the realm of electronica. The sun is going down and that magical, galvanising effect produced by darkness, plentiful drink and electronic beats energises the atmosphere throughout the venue. Brisbane's Danny Harley draws his set from 2014 EP Vessel and his self-titled debut album, released in July this year. He invites Vessel-featured singer Tiana Khasi on stage to offer her vocals to Stone Cold, before scaling the vibe back to the sombre and muted instrumentals of Selfish. The ARIA-nominated artist treats the audience to other album highlights including Arcadia, Know By Now, Waiting, and Illuminate. The mosh pit was brimming by The Prize, pulsing together in euphoric bliss.

James Vincent McMorrow has a very distinctive tone and his music harks back to the heyday of classic, emotive ballads - think Rick Price. McMorrow certainly comes across as an industrious musician, presenting songs from his two most recent albums, We Move (2016) and True Care (2017). He has a formidable and well-developed falsetto, which features prominently throughout the set. Periodically, he lets his voice fly on a powerful sustained note or some improvisatory acrobatics. The crowd goes bonkers over his voice, furiously clapping and cheering away. McMorrow's voice is a marvel to be sure, however, he sometimes milks the note a little bit too long and it starts to sound strained. Throughout the delivery of tracks including Get Low, National, Rising Water and Down The Burning Ropes, McMorrow makes clever use of the back-up singers and instruments at his disposal, mixing it up for some guitar and then piano-led songs laced with rich harmonies. The audience is captivated as McMorrow tells his story. While it's a bit difficult to make out the lyrics, whatever he is singing sounds sublime, like hearing wind rustling through trees.

Punters take the opportunity between James Vincent McMorrow and London Grammar to stock up one last time on drinks and nachos... which sold out, breaking hearts everywhere. By this point, the sheer size of the audience sinks in as there are easily 7000 people crammed into Riverstage. London Grammar take the stage at 8.30pm and are welcomed by deafening cheers and squeals of excitement. The opening lines of Rooting For You ring out a capella with lead-singer Hannah Reid's 'I'd-know-it-anywhere' alto voice drifting through the night sky. The stage and Reid's face are darkened in shadow, with a small number of white strobes lighting a fragile, translucent halo around her head. Instrumentalists Dominic Major and Dan Rothman join her in the second verse with a mature blend of sound that perfectly complements Reid's vocals and allows them to shine. There is a piquant little scale passage in the chorus that splendidly shows off her higher register, which floats like a feather between each note (Queen Of The Night's aria anyone? Just not as maniacal...). The next song of the set is Flickers from 2013 album If You Wait. Against a backdrop of three ghostly circles, Reid once again establishes command of her higher register and how at a snap of her fingers she can reign it back in so as to not overpower the instrumentalists.

In celebration of their new album Truth Is A Beautiful Thing, London Grammar offer sparkling renditions of Who Am I, Hell To The Liars, Non Believer, as well as hit singles Big Picture and title track Truth Is A Beautiful Thing. They also perform If You Wait's Wasting My Young Years, Sights, and Stay Awake. Tonight's audience are receptive and respectful, not raucously singing along, but content to quietly watch and sway on the spot. They appreciate the talent which is being offered to them. The main part of the set concludes with fan-favourite Strong. It is truly special moment when an artist can play a single note and their fans already know what track is playing. Breaking the audience from their hypnotised state, Reid leads a singalong, holding back to give them a chance to join in, and they do so with gusto!

The crowd relentlessly hurls applause at the stage until the lights go up and the band re-emerges for the encore. These cheers intensify as a massive pride flag is projected onto the main screen in a very relevant and appreciated gesture of solidarity for marriage equality. Concert-goers delight in Bones Of Ribbon and Oh Woman Oh Man. The final song of the evening is 2013 single Metal & Dust, drawing to a close with Reid's voice once again ascending skyward with angelic majesty.

Tonight's mammoth line-up wraps up leaving audiences amazed, enchanted and with musical appetites well-satiated. The supporting acts are of an impressive standard and showcase the quality of acts coming through at home and globally. London Grammar are well worth the wait and risking bouts of claustrophobia in an almost at-capacity venue to hear the ethereal and otherworldly manifestations of their creativity. This is the type of performance where you could easily lose yourself - just close your eyes, surrender your worries and be washed clean.