A very full Oxford Art Factory greeted Brooklyn-via-Australia indie pop group High Highs.
The group, consisting of Oli Chang on synthesiser, Jack Milas on guitar/vocal, and touring drummer (whose name was terribly difficult to catch but we’ll call him Sean) emerge from a stage strewn with fairly lights; and if not mistaken, a projection of a silent era Anne Boleyn-esque film.
Cavernous echoes and swelling sound fill the venue as the band plays through a short instrumental prelude, that in another room might have served to signal that the ‘journey was about to commence – hop aboard’.
“It’s good to be home…” remarks Milas with a wry smile, and High Highs move through their opening numbers.
‘Flowers Bloom’ has a tender and delicate arrangement, but perhaps misses the clever panning which makes it stand out so on the recording.
After a couple of songs Milas trades his electric guitar for its acoustic cousin, and it becomes evident that the group don’t yet have everybody’s attention, despite the room being filled to ‘standing room only’.
Sydney crowds are notoriously hard to tame into submission, and though the rendition of ‘Horses’ was probably one of the highlights of the night – it was barely audible at times over the loud chatter and buzz of the audience.
Touring drummer ‘Sean’ adds depth by blending rich cymbal splashes over muted, malleted drums, and keeps beat with the tiniest of shakers.
The intention appeared to be to steer the live show almost as one linear dreamscape, sadly the approach just doesn’t land tonight.
‘Open Season’, the title track from their long player, is another song driven by acoustic guitar, with a structure almost reminiscent of an early Arcade Fire (sans five players).
One punter is overheard comparing them to Fleet Foxes, and although though the boys do employ some use of vocal harmony, it wouldn’t be fair to draw comparison to the complex webs set down by groups like Fleet Foxes.
High Highs also conjures feeling more similar to Wild Nothing and Radio Department. Another voice likened the sound to being “…like Beach House, only his voice is more girly;” a candid observation with which it is probably difficult to disagree.
A live tip for young players: treating your sound through layers of delay/reverb/echo does not instantly make it ‘dreamy’ or ‘ethereal’; any more than stamping your overdrive pedal makes a sound ‘heavy’ or ‘fuzzy’ (it’s worth noting that OAF is a room that handles both surprisingly well from an acoustic perspective).
In this regard, there was a feeling that High Highs perhaps fall short of something they were attempting to convey, something that probably works very well on record.
They weren’t particularly unpleasant, nor was their sound attempting to break ground or produce anything decidedly brave. The trio works cohesively on stage, but the set fell short of leaving a lasting impression once they departed.
Partly victims of what appeared slightly disinterested audience; partly a product of producing work that sits in a particular groove without much deviation throughout.
