written by Chris Familton

In the last six months The Naked And Famous have achieved a #1 album in their homeland of New Zealand, international radio-play and YouTube viewings reaching into the millions for their single Young Blood. After a quick visit to these shores late last year, the band secured a slot on the Big Day Out and threw in a few sideshows for good measure.

Up first at the sold out OAF were Melbourne’s Undercolours who gave an emotive and heart on sleeve performance that at times threatened to topple into the ridiculous with singer Flynn Francis’ Bono styled uber sincerity. They obviously believed in what they were doing but they need to dial back the clenched, closed eyes and let their big pop songs shine through. There is a place for Undercolours on commercial radio.

The Naked And Famous on the other hand could do with more outward displays of emotion and some casual interaction with their audience. Sure, the music was big and embracing but their lack of   bridging the gap between stage and punters made for a somewhat restrained response from their fans, especially after the bouncing hysteria of their BDO set.

Musically the band sits in a clever space that finds room for a wealth of influences from 80s synth pop to the 90s electro rock of Garbage and contemporary acts like Radiohead (The Sun), M83 (Eyes) and LCD Soundsystem. Their best moments come when they harness some of LCD’s communal electronic pop on songs like All Of This and Girls Like You, both featuring guitarist Aaron Short on lead vocals.

The crowd rousing singles Punching In A Dream and Young Blood operate in similar territory to each other and they succeed live by making the most of singer Alisa Xayalith’s melodic Lauper-esque wail that bled some humanity into the machines. They are big brash pop songs that deserve to make them huge but the band’s best moments came with the less anthemic moments where shade and texture were allowed to flourish.

With barely a ‘good night’ or ‘thanks’ they filed offstage leaving a crowd no doubt satisfied they had heard the album live but without any tales of an amazing show to torment those who couldn’t get a ticket.

this review first appeared in Drum Media