Part of what makes Stereolab songbird and band frontwoman Laetitia Sadier so awesome is her quietly modest demeanour. Without falling into rock star cliches, she sings her dream-pop melodies in a mix of English and her native French, never missing a note, and all the while bopping around in her unaware but sensual way.
Sadier however, is only one part of the currently six-piece line-up consisting of the usual drums, bass and guitar, with two keys/synth players building layers of beautiful melody and noise on top of the band's kraut-rock-esque signature sound. Even before they played "the one you're waiting for", 'Lo Boob Oscillator' - it's recognisable opening organ chords garnering excited screams - I was won over.
Playing a set dominated by tracks off their latest release, Chemical Chords, including the title track, and 'Self Portrait with Electric Brain' (what a song name!), Stereolab endeavoured to please all fans, giving us everything from 'Double Rocker' to the much-loved 'Emergency Kisses' during their encore. Every part of their well-oiled machine sounded spectacular and never tired. Despite their years of playing, line-up changes and an in-band divorce, they sounded fresh and full of energy, setting the audience bouncing along to the well-kept beat.
Being my first live encounter with Stereolab, I had wondered whether the myriad of musical landscapes crafted on their nine studio albums could be executed live. Holding my breath to see if they could master their self-inflicted syncopation, time changes, multiple melodies and more, I was amazed to see and hear that they well and truly could.
Perhaps the only downfall was in the mix, as keyboardist Julien Gasc's vocals were barely to be heard, and I missed the sound of the harmonies we can thank ex-member Mary Hansen for. Stereolab themselves though were infallible, even after their Wurlitzer died onstage and The Crayon Fields came to the rescue so the band could, as Sadier put it, "rock Roland style." Speaking of The Crayon Fields, the Melbourne outfit played a lovely, jangly support set in the awkward way they do, the recent 7" release, 'Mirror Ball', translating wonderfully live.
The real disappointment of the night was that the Metro was only at a third of its capacity despite hosting not just an international but influential, veteran band. Stereolab are proving album after album a consistent genius in their song writing both lyrically and musically. It's no wonder they continue to rank with such high esteem in their collection of adoring fans.
Aimee-Lee Curran
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