aRIAS, HOTTEST 100 AND BEARD IN TOW, CHET FAKER continues his crusade to take over the world. we check out mr. Murphy live on his built on glass tour to see what all the fuss was about.
Words By Lewis Brideson
Nick Murphy, AKA Chet Faker, is no doubt a household name in Australia at the moment – and with performances like his one at Thebbie on Saturday night we need not question why. The Melbourne producer mesmerised the sold-out crowd in what was an intimate yet grand performance of his 2015 Built on Glass tour. He convinced newcomers to throw away their iPhones, and proved to the lesser-versed, post-Hottest-100-day fans his full capabilities. Faker, his Melbournian counterparts GL and Roland Tings, and all us Adelaidians were there to (as he put it) simply ‘experience’.
First up were electronic pop duo GL, who opened the show with an array of dirty drum machines and shimmering 80s synths. Their set really took off half way through, with their new song Runner, as front woman Ella Thompson decided to let her voice go. Her shrieks and powerful falsetto swum incredibly atop a sea of stratospheric pads and true disco vibes.
Following this was progressive heatwave-house maestro Roland Tings, who had the crowd in a trance with a lusciously growing Roland (Tings) keyboard solo to begin his set. Next, he completely vibed-out to some of his new grooves, including the infectious Pala. While it was refreshing to see a DJ/Producer really utilise his gear and let the tunes engulf him, perhaps his late-night slot at Arcade Lane would sit better. To see him play a longer set to a more involved crowd would truly make his beats pop like they do off his debut record.
Finally, Chet Faker stepped onto the stage, bringing a perfectly paced set that allowed time to duck into every corner of his material and way of performing. Most notable was how every song was given a slight twist for its live variation. Faker began with Cigarettes and Chocolate, showing he sure can rock AKAI pads and build a thumping beat, as well as creating tension before finally picking up the mic. His usual multi-instrumentalist friends joined him on stage to create his three-piece unit. In particular, his drummer Sam glued it all together with impeccably tight grooves. Chet Faker churned through favourites, stripping back To Me with a soulfully looped acappella performance, picking up the guitar for Dead Body to allow his guitarist to pluck out a face-melter, and giving Sam the reins to drum solo over Cigarettes and Loneliness. He even covered Van Morrison’s Moondance, turning it into a gorgeous down-tempo swayer. Faker later had the crowd screaming and stomping as he spun No Diggity into Drop the Game, and Blush into 1998 - which ended with a very excited and sweaty/naked Adelaide audience, in particular that female crowd-surfer up the front who forgot to wear clothes. However, what Adelaide was really exposed to was Chet Faker’s versatility. He can hold his own as the mic-spinning soul-man or the electronic producer, and with this most recent tour he has clearly crafted the perfect mix.
It wasn’t until the end that Faker comfortably sat behind his vintage Wurlitzer to deliver a performance with just him and his keys. He had the whole crowd in sing-a-long, making him stop and grin as Adelaide serenaded him. Talk may not be worth a whole lot, but Chet Faker sure is.