Live Review: Moses Sumney, Leah Senior

A sound tech behind the mixing desk advises we're not allowed to whistle if we're gonna stand on the platform behind him, 'cause it feels like someone's "stabbed [him] in the ear". (Punters further afield do so later in the evening and we view said tech inserting pointing fingers into corresponding ears.) He's also concerned we'll spill our drinks on the equipment.

Leah Senior and her sister Andi's harmonies call to mind First Aid Kit and both ladies sport Northside short fringes, probably self-trimmed. The siblings are joined by another guitarist/keys player and it's all very serious. Leah Senior's voice is pure of tone and she's a melancholy, frail songbird up there. Her haunting, delicate fingerpicking style complements songs such as Loser and another built around this charming observation: "We're the ones who visit the graves of rockstars."

The red curtains close to set up for the incomparable Mosey Sumney. There's a fair bit of commotion up on stage while trying to keep the curtains closed. Then the house lights dim. We hear a voice accompanied by piano and all obediently hush. But nothing happens. Cue: audience laughter. The curtain remains closed and we resume our chats. From Sumney's first Incantation, it's so quiet that we can hear the clunky throb of the venue's air-con. Sumney gently sways from side to side dressed in all black everything. He instructs the lighting tech to dim the stage lights: "They're kind of killing my prince of darkness thing." Sumney clearly wishes to Dwell In The Dark. Is his vocal range as broad as Mariah Carey's? His looped, undulating vocals are surely the sounds we'll hear when being ushered through the gates of heaven.

Sumney informs it's his first time playing in this country and admits he wasn't sure whether anyone would turn up. He sings a song about unfulfilled potential, Seeds, chuckling while acknowledging this sounds like his own personal story. I Heard Love Is Blind, an Amy Winehouse cover, wouldn't immediately have been recognised as such had he not introduced it; Sumney caresses guitar strings and shows off via effortless vocal riffs. The way he builds vocal percussion hip hop beats through looping for Rank And File!? We're still shaking our heads in impressed disbelief. Sumney concludes this song by facing in different directions as if part of a military parade. He takes a well-informed stab at Sydney ("Except in Sydney where everything's illegal"). His vocal gymnastics reach lofty heights during Lonely World. At this song's conclusion, the arrangement spirals down into the depths of despair before Sumney leaves the stage.

Returning for an encore, Sumney inquires, "Are there any requests?" Garbled requests are shouted out and Sumney jests, "Okay," in such hurried fashion that it's very likely that he didn't hear any of them and always intended to perform the guitar-driven Plastic (which featured in the season finale of HBO series Insecure). Sumney channels Nina Simone. Closer Everlasting Sigh peaks with Sumney-led crowd participation that moves through clapping out a rhythm to finger snapping and then stomping. What a gift that voice is! Obviously moved by our reception, Sumney declares Melbourne is, "The best city in Australia," before correcting: "The best city in the world." Experiencing Sumney live is a celebration of the human spirit. Sadly the stage's red curtains close.

Sumney's Worth It lyrics - "I don't know if I am worth it" - should certainly never enter this artist's brain box. We madly try to pre-order his debut album in the car on the way home, but can't seem to find a way. Do not miss Sumney's set at Sugar Mountain.