The half-painted room that held the stage and crowd filled quickly as falling curtains blanketed the backstage area, dividing the fans and musicians before the gig.
Set to tour with Ed Sheeran across America later on in the year, Passenger (the stage name of UK’s Mike Rosenberg) has amassed a cult following worldwide.
This is made even more incredible when Rosenberg admits that he had accepted the anonymity of having no major record label and raised funds for his shows through busking on street corners. The ever-humble musician is obviously gaining momentum in the music world, which seems unsurprising given the high calibre of his live shows.
First on stage was Queensland musician Stu Larsen, whose deep, relaxing tones held a charm comparable to Sydney singer Matt Corby.
Any interest in the unusually old-fashioned appearance of this wayfaring musician was forgotten as soon as he began singing, with his roaring vocals that flowed gently into a quieter shade of themselves.
Larsen eagerly explained the background stories of each of his songs, often adding that many of them were written in Adelaide. The piercing harmonica solo of “The Train” cut through the chattering crowd, and signalled the end of Larsen’s set.
With their endearingly shy stage manner, the quiet voiced singers of Sydney’s The Falls breathed indie-folk warmth. Their country-inspired melodies masked the quiet chatter of the audience, while their entrancingly sweet appearances captivated the oddly matched crowd.
Though initially the shyness of the singers was an overwhelming aspect of their set, the duo’s confidence appeared to increase as the night continued, with the songs from their new EP appearing to have a cleaner, more polished sound.
Commencing his set with the joking statement, “I really wish I had asked worse bands to support me”, Rosenberg fell easily into his first song “Fear of Fear” with an undying passion.
As his powerful voice cried out over the darkened crowd, he was treated with a silent reverence few artists can lay claim to.
The dead calm that followed Rosenberg’s voice through this first song was carried throughout his entire set, and only broken during the breaks between songs, or when the audience was invited to clap or sing along.
Even without the use of any instruments other than his guitar and idiosyncratic voice, Rosenberg’s incredible talent prevented the audience’s attentions from wandering.
With lyrics that overflowed with sentimentalities and warm advice, Rosenberg freely admitted that his songs were “pretty bloody depressing”, and assured the crowd that he wasn’t as depressed as his songs would imply. Regardless, the fiery stories beneath the lyrics built on the simple instrumental background, and highlighted the tenor of his voice as he reached into the soul of his music.
While it was undeniable that his more acoustic-based songs (rather than the ones on his earlier, record-label albums) flourished in the closed setting, a full band was not needed to gain a full appreciation for his heartbreakingly raw melodies.
As he channelled the intimacy acquired from a career in busking, the lone guitarist emanated warmth into the rain-stained night. Running through many of his popular songs, including “Table for One”, “I Hate”, “Let Her Go” and a cover of Bruce Springsteen’s “Dancing in the Dark” with expert ease, Passenger’s live performance belittled the compact sound of the recorded versions.
His earnest tunes, when met with the flooding manner with which his eyes would sweep over the crowd and the witty remarks he made between songs, drew in the audience’s complete attention.
When Passenger departed the stage, the stomping crowd demanded an encore, and were given a perfect rendition of his songs “Caravan” and – to the audiences delight – “Holes”. It is unmistakeably clear that this modest storyteller has come a long way from earning a living by busking on street corners.
– Alexandra Skeer
