My School Act tops!

It was great to see My School Act unleash 5 young and incredibly polished bands to turn it on in the stygian recesses of Sydney’s Metro Theatre, wowing the audience as well as the judges. Blowing in from the distant West, Perth dynamos 44th Sunset swept the boards snaring a spot on their local edition of Big Day out and picking up a career changing record contract with Sony. Something of a wild card, coming from a much shallower talent pool than their colleagues from the Eastern states, the three boys and a girl group powered home on the sensational vocals of 16 year old Nik Thomson. Thomson stamped himself as a serious vocalist likely to have a serious impact on the music scene in this country – this band is definitely Big Day Out ready. Overlaying tight playing with underlaying metaphysical lyrics 44th Sunset showed the possibilities indie rock can deliver in the hands of musicians who aren’t afraid to take a journey. Enter keyboardist Emily Matthews to join Nik, John Yaxley and Forrest King. The boys are as one in praising the new and varied directions her keyboard playing enabled the group to take them – all the way to a big gig and a record contract. Sony has a winner on its books. The winners were in good company. Central Coast’s Sons of Alamo did the hard yards opening the show and did it with style. Style is the first and lasting impression these guys give; they are cool calm and – stylish. Lead singer/guitarist Jordan Fleming has what it takes to lead a band, in fact an exceptional band. They were tight, intense when the music said be intense and freewheeling when that was in order. The two song format probably didn’t do them any favours; one senses this is an act that thrives on audience time. They will be getting plenty of that; they too have a Big Day Out coming up. Calais swept into the finals on a wave of popularity that was easy to understand. Another group definitely needing a longer set, their understated melodic rock was quietly seductive, unfortunately for them in an environment that was more a look at us while we explode occasion. They played tight, giving the songs every chance to make their own statement and song writing clearly comes naturally to them. Calais is Tim Lollback, Guy Stacey, Liam Roberts and Joel Fleming. They name diverse musical artists and genres as their influences and it works for them. At this stage of their development they deliver a brand of music that audiences will want to hear more of. In time, and not too much of it, audiences will be wanting to also see more of Calais. The Maze hit the metro with their own portable mosh pit and put it to good use. This is a very professional, tight, audience-savvy band that delivers high quality pop rock with confidence; little wonder that they have a following. They are a band of identifiable and attractive personalities, led by guitarist and lead vocalist Zach Gervaise, a singular talent with a cool stage presence that is belied by his searing vocals. Bassist Angus Bradley and drummer Jack Crist neatly impose themselves on the output, looking and sounding good and the group has a real character in keyboard driver T-Dogg; who looks like something from a petting zoo. It works. It works well. It works very well. Young Brisbane sibling band Freak Morice, marooned out of genre and bedevilled by technical difficulties, closed the show with their unabashed, infectious, top shelf pop. Despite a rough start, thanks to a wretched microphone for lead singer Kahlia, they showed their confidence by opening with a new song, Seventeen Forever and toughed it out. Switching to their signature tune, Secret Handshake, with Kahlia digging deep and the rest of the family lifting too, they brought it home with a final three minutes of pop performing at its peak. On a night where excellence was the norm, this was the finest moment. Arguably the best looking group since ABBA, the Fergusons, Kahlia, Joel, Nathan, Daniel and Shani offer a stage act that is as good to watch as it is to hear. The youngest member, Shani, works behind her keyboard with captivating little dance cameos that neatly supports Kahlia’s exuberant stagecraft that is the centrepiece of the Freak Morice experience. The boys look cute, play great and round off what is a visual and aural treat. Their songs display a maturity that is hard to believe from young songwriters. The music and the lyrics are both multi-layered and can be taken on “face value” or be even more rewarding if listened to more intently. Theirs is not lightweight disposable pop. It is pop as it should be, memorable as well as instantly enjoyable. No prizes for Freak Morice – but they made their point. My School Act – take a bow.