Live Review: Passenger, The Paper Kites

Adelaide's Thebarton Theatre was brimming at the seams with an expectant crowd waiting to see English indie-folk sensation Passenger (aka Michael Rosenberg) perform.

The night opened with support act The Paper Kites, a five-piece known for their indie-folk-style delivery that complemented the headliner well. Somewhat shy frontman Sam Bentley instructed, "If you know this song you're welcome to sing it. If you don't, please don't sing you'll ruin it," as they opened with their track Bloom. Mellow, laidback and even, dare we say, 'easy listening' would describe The Paper Kites. They entertained the Thebarton crowd, but never seemed to really grab it by the proverbials.

After a short interval and stage restructure, it was time for Passenger. A four-piece band consisting of keyboardist, drummer, lead guitarist and bassist came out and started playing. Rosenberg walked on shortly afterwards and was greeted by huge applause. His backing band were set well back from front of stage, leaving Rosenberg plenty of space to command the area, acoustic guitar in hand. He waved to the crowd as they started Fairytales & Firesides.

Rosenberg is an intriguing character; small in stature, wearing skinny jeans with black Converse. The stage seemed to swallow him. There, with his guitar behind the only spotlighted microphone, he bopped away and, from the first chords, you could tell his years of busking around Europe, plying his craft, have afforded him the enviable ability to draw you in. Suddenly, he was commanding the whole theatre.

Long, verbose interactions with the crowd are a staple diet of Rosenberg's performances, from discussing the inspiration behind his songs to lamenting new POTUS: Trump. He has the gift of the gab and is able to capture an audience's attention, and make each member feel as though he's telling them a personal story — not just flogging his latest single.

The folk/country soundscape lends to his one-man-band image. He explained to the crowd that he isn't used to playing with a backing band (likely the reason for the distance separating them), although he still performed as if you and you alone were his centre of attention. Even if you were standing in a crowd of thousands, Rosenberg's troubadour-busker style and continuous banter would still lure the loose gold coins from your pockets.

Playing through his new album and a list of hit singles including Let Her Go, I Hate and 27, he had the singalong crowd in fine voice, but the highlight of the night came in the shape of a heartfelt cover of Simon & Garfunkel's Sounds Of Silence, a thousand mobile fireflies lighting up the theatre.

After an hour-and-a half, 30 minutes of which comprised Rosenberg's entertaining banter, he thanked the crowd and, with his band in tow, left the stage. Rhythmic clapping and singing from the 2,000-strong audience guaranteed the obligatory encore. Rosenberg reappeared on stage and played two more songs much to the audience's delight. Once again Rosenberg, with his band, performed a well-crafted, entertaining, personalised show.