Live Review: Unknown Mortal Orchestra, Body Type

Sydney band Body Type opened to a considerable crowd. The band have been gaining traction across town with festival appearances, their own shows and the recent release of Arrow from their eponymous EP, out in full next month.

A smattering of indie-infused picking patterns permeated the set. Crowd favourite, Silver, and new song they called ‘Futurism’ had the crowd swaying. The display of musicianship was stellar and lead singer Sophie McComish delivered a cut-through message that was undeniable.

A sea of red light melded with green rays as a drum fill signalled the first exuberant burst from Unknown Mortal Orchestra. Chronos Feasts On His Children started slowly but built suddenly into an all-out assault on the senses. 

New Zealand-born, Portland-based frontman Ruban Nielson inspired a rousing reaction from the crowd with his first guitar solo and an early foray into the familiar terrain of the mosh pit. He even bounded up to the nosebleed section, backlit by a neon light, to engage the sedentary back rows.

The set took on a primordial feel at the point of infectious tune Necessary Evil, with a heavy bass hook, junglesque keys and turquoise and magenta beams of light filling the space. The lights started to strobe as the bass line intensified and the chorus of "necessary evil" sounded. 

Ministry Of Alienation began with earthy tones and spacy vocals. The melodic drum rhythm was backed by lights with an amphibian atmosphere. As the song reached its crescendo, the lights dithered and flashed with scenes reminiscent of Willy Wonka's tunnel.

Indeed, there was no knowing where the show was going, with the band delving into their archives and fishing out the poppy, soul-inspired So Good At Being In Trouble. Unknown Mortal Orchestra have a tremendous ability to blend genres seamlessly and this song was a microcosmic example of this skill. The repeated phrase, “She was so good at being in trouble…So bad at being in love”, moved the audience into a trance. The groove was heavy but the refrain was light and simple: the perfect combination to keep the crowd dancing. 

The Enmore audience were sure to remember this genre-bending set, which showcased new and old, psych and R&B, mind-bending guitar solos and thought-provoking choruses.