UV Boi / Kučka
Saturday, July 16, 2016
The last couple years have been big for George Maple. The Sydney chanteuse, now based in LA, has moved from strength to strength, rising through the ranks to become the queen of Australia’s mighty, tastemaking Future Classic label, alongside Flume, Chet Faker, What So Not and Touch Sensitive.
Currently one of our hottest exports, Maple has kept busy, following up her 2014 EP Vacant Space with recent collaborations What So Not and DJ Snake, and her club rap anthem featuring US rapper Goldlink, Sticks & Horses.
The international jetsetter returned to Australia this month for her biggest tour to date, bringing along with her upcoming Brisbane producer UV Boi. But first up, starting the night, was Perth’s own electronic goddess Kučka, who has also been making great waves in the scene, having featured on two big tracks on Flume’s new album, and released her own successful Unconditional EP on the Midnight Feature label. The dynamic trio of Kučka live always put on a good show, but tonight singer, producer of the group Laura Jane Lowther was just representing with a rare DJ set.
UV Boi stepped up right after Kučka and really picked up the energy with a party set, playing an upbeat mix of electro, bass and trap sounds, including some of his own productions – tough, dancefloor ready sounds, and quite a juxtaposition to the two female fronted acts he was slotted between.
Just after 11, a drummer took his position behind a massive kit and a bass player, slung on his instrument, behind a stack of keyboards. The drama built…
Maple knows how to make an entrance – sneaking down the stairs from the upper level onto the stage, drenched in red and purple lights, she crept out in the smoky darkness, draped in a flowing gown. After an intense burst of strobe, the beat and heavy bass kicked in, the crowd cheering as they recognized the intro to Sticks & Horses, and then howled some more as her flowing top fell the floor, revealing an incredibly sexy, Agent Provocateur, full body, black lingerie outfit, complete with boots, fishnets, collar and bejeweled gloves.
She then kicked into action, prowling the stage, winding up the crowd. The slinky R&B electro groove of the music was perfectly matched to Maple’s purred vocals, and seductive, slow dancing. A natural performer, she really commits to her creative vision, and you can tell puts a lot of effort into her whole aesthetic, with a well choreographed show. But as the chorus kicked in, her real gift became evident – her powerhouse, pitch-perfect vocals – they really shine live, as she confidently delivers each line with real passion and intensity.
It’s great to see a performer truly in control of their persona, not holding back, and George Maple seems well on her way to becoming the star she seems determined to be. Over the last few years, she’s tried various approaches with her image and style, seemingly reluctant to rely on her looks previously, focusing on the music – but now she seems to have embraced her undeniable talent as a sexy, electro-pop chanteuse.
Inbetween the intensity of her songs, she would break character and suddenly be a humble, young girl again, stoked with the reception from the crowd, profusely thanking everyone for coming. She hasn’t got a massive catalogue at the moment, so she played pretty much all her material. The title track from Vacant Space was a highlight; a gorgeous, atmospheric, slow burning anthem, with Maple’s stunning vocal on the breakdown really lifting it.
She finished on probably still her biggest track Talk Talk, very popular among the fans if the singalong at the end is anything to go by. The live drums at the end added a really nice dynamic, as everyone cut loose on the dancefloor, following Maple’s lead as she spun and twirled around on stage. Her energy and enthusiasm for her art shone through. Keep an eye and an ear out for George Maple, it’s a name you’ll be hearing a lot more of. Check her out next time, where she’ll no doubt be playing a bigger stage.
ALFRED GORMAN
