One of the most special things about gigs in theatres is the hush that descends upon the audience as the lights dim. Passenger’s gig at Melbourne’s beautiful Palais Theatre was certainly no exception.
The two-tiered Art Deco theatre was almost full even before the support act started, proving that Passenger’s fans really are passionate supporters of live music. Opening act Stu Larsen stepped on stage to rapturous applause, a further testament to the genuinely respectful audience.
Larsen, a singer-songwriter from a small town in Queensland, was honest and free from affectations. At times the lone man on the huge Palais stage was drowned out by the venue’s sheer enormity, but the warmth of his presence soon outweighed this.
It was obvious that Larsen had learnt a lot from Passenger, who he has toured with extensively over the past few years. His writing style is anecdotal and evidently driven by the evocative lyrics.
Larsen also managed to fit a cover of Coldplay’s tear-jerker ‘Fix You’ into his set, played simply and beautifully. There were no fancy arrangements, no clever loops, just a man and his guitar – which made for stunning simplicity.
However, once Larsen had packed up his gear and Passenger stepped onto the stage, the real show began.
Though the music was impressive and near perfect, one dominating feature of Passenger’s set was the lighting plot and the visuals. These additions were so well-timed, perfectly rehearsed, and incredibly atmospheric – enough to evoke the emotion that Passenger’s music inevitably brings.
Passenger, also known as Mike Rosenberg, is a true performer through and through. The way that the british singer-songwriter opened himself up to the crowd made him a completely joy to watch – more like a chat with a close friend.
Rosenberg eradicated the theatre’s ‘fourth wall’. He bridged the gap between audience and performer, making both feel vulnerable yet truly appreciative of the experience.
The folk artist played a mix of songs from all four records, many of which were accompanied by lengthy anecdotes and back stories. At times the gig felt a lot like a storytelling session (or as Rosenberg put it, “the biggest self-help group ever”), really giving the live performance that personal edge.
A stickler for audience participation, Passenger didn’t need to ask the crowd twice to get on their feet. In fact, the crowd sang, danced, and yelled raucously at different points throughout the set.
Similarly, he had the ability to shut up the almost 3000-strong sold out venue in seconds. At times, the Palais was deathly quiet. It was hard to hold back a little tear as you could see, even from afar, the emotion behind the songs that were played.
It’s amazing to see an artist who’s so passionate about what they do but also passionate about the state of the world, the music industry, and humanity in general. Even in front of thousands, it’s easy to tell that Rosenberg is the kind of guy you’d want your mum to meet – so genuine, witty, wise, and worldly.
A highlight was when he unplugged his guitar and microphone and played a song completely alone. It must take real balls to stand solo, unprotected by all the equipment, and just sing – but Passenger pulled off the feat.
“This is a new one. I think it’s going to be a single,” Rosenberg said cheekily towards the end of the set, launching into Daft Punk’s hit ‘Get Lucky’ before seguing into his own smash single ‘Let Her Go’ – to which everybody chanted along.
Despite encores now being perceived as annoying, old, and predictable, Passenger brought himself back on stage and played the song ‘Whispers’ from his forthcoming album as well as current single and fan favourite ‘Holes’.
The set was over before you knew it. The audience slowly filed out, starry-eyed and undoubtedly more optimistic about the state of the world – if only ephemerally.
On his latest run of Australian shows, Passenger really did prove himself to be more than just a singer-songwriter. He’s an artist and a true performer.
