Live Review: Phantogram, Mas Ysa

The night opens with a passionate display of splintered R&B and bass-driven dance tunes. Thomas Arsenault, otherwise known on the decks as Mas Ysa, plays an introspective set that feels homely in its authenticity and blind fervor, like a schoolboy rocking out alone in his bedroom with a sound akin to a young Chet Faker. Though the crowd is scattered and most are simply waiting for the main event, the mega fans on the fence show their unwavering support and dedication. Tonight, however, belongs to Phantogram.

The Metro is packed and the lighting designers have happily confused the New York duo with Beyonce.

Sarah Barthel and Josh Carter are in the midst of some serious commercial success. Following on from the release of their new album Voices, Phantogram stepped on stage for their first-ever show in Australia before their inevitable induction into Splendour fame this weekend. Barthel, with a sound akin to the lovechild of Karen O and Grimes, is having a seriously good time, but her voice is faint with the heavy synth-pop beats overriding her potentially stellar performance. Next to Barthel, Josh Carter’s ballads lack the substantive panache that his partner-in-crime brings in spades.

The Metro is packed and the lighting designers have happily confused the New York duo with Beyonce. Fog fills the stage and an anonymous drummer and bassist fade into the background while Carter and Barthel smash through crowd favourites Fall In Love and Black Out Days. A break away from the trip hop arrives with their ballad-esque Bill Murray and provides the first opportunity for Barthel to overcome overbearing audio in favour of her hypnotic vocals.

Without a solidly dedicated Australian fan base, it’s clear that this is a gig for future Phanto-philes who will inevitably jump on the groupie bandwagon and adopt them as electro savants. No one follows the lyrics, but everyone is content with the bob-and-groove more commonly found in smaller venues with virtual unknowns. Producers haven’t yet tapped into the power of Barthel’s voice, to their detriment. Akin to Lauren Mayberry of Chvrches fame and Hannah Reid kicking off London Grammar’s success, the potential for Barthel’s voice needs to be molded and harnessed to create a truly unique sound.