Live Review: Young Blood #2 feat. Georgia Mae w/ Capre & Quintessential Doll @ The Triffid

The Triffid’s origins as a former military hanger were a far cry from the electronica that echoed within its walls during the second instalment of the Young Blood series. Proudly sponsored by AAA Backstage, the series is all about showcasing and unearthing some of Queensland’s newest and most talented artists, and Friday night was no exception. Georgia Mae, Capre, and Quintessential Doll brought their unique hybrid and electronic styles to the Newstead venue, captivating the Friday night revellers.

The modest crowd was in full support of the artists, many swaying along to the different electronic sounds, others choosing to fully recreate moments from ‘Dirty Dancing’. Regardless of their chosen expressions of movement, all were obviously enjoying the sounds of the intimate gig.

Quintessential Doll opened the night with her brand of deeply layered and intricate electronica. Her blending of synthesisers, drum pads, electric guitar, and violin created an eerie sound that, along with the subtle lighting in the venue, created a very surreal atmosphere.

With her expansive vocal range, her layers created a dreamlike soundscape that was occasionally punctuated by a strange effect or sinister sound. Her latest single Beautiful Violence was a prime example of her incredibly dense and intricate sound, with its slowly building sound coming to an almost chaotic crescendo.

Leaving just enough time to refuel/ refill one’s glass, Brisbane duo Capre hit the stage, promising at the onset to get us “dancing and relaxed at the same time”. They immediately set about achieving that goal, blending influences from Jamie XX and Boo Seeka to create a quiet, yet powerful groove. Imagine the smooth sounds from some of Flume’s more chill tracks, and these vibes were only half of what Capre had to offer. The range of a guitar sounds and tones formed most of the melody and drive, with the production allowing those gathered to unwind. At times these guitar lines involved relaxed chord work, but at others, more up beat riffing got your toe-tapping on the floor.

Georgia Mae closed out the night with an entrancing set that showcased her trademark hybrid blend of electronica and folk. Playing a wide range of tracks with the help of keyboards, guitar, and a dicky mic stand, Mae had most of the audience dancing and swaying along.

The crowd was captivated as she moved from her more production-heavy tracks such as Time With You to her more acoustic guitar driven tracks such as her cover of Joel Turner’s These Kids. Initially Georgia Mae was channeling CHVRCHES with the slick productions and layering, but there was far more to her performance than electronic production.

The electronica on show as part of Young Blood’s ‘Beats Edition’ was certainly far more subtle and nuanced than what you might find with a collection of up-and-coming artists, can’t wait for the next instalment!

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