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Review: Slum Sociable at Jack Rabbit Slims, Perth, 8 December 2017

Moody and Diverse

Melbourne duo Slum Sociable showed off their impressive debut album at Slims on Friday night, colliding gloomy sounds with feel-good energy and impressive falsettos in-between.

Slum Sociable is the brainchild of Edward Quinn, who is behind the production, keys and guitar, and Miller Upchurch on vocals and (heavily featured) tambourine. Joining them for their shows are Ryan Beasley on drums and bassist Dylan Savage.

Following supports from Perth songstress Teischa, the band arrived on time and slid into their 2015 debut single ‘Anyway’ without a fuss, much like Upchurch’s vocals; never trying to hard but amazing the crowd in its simplicity.

Next was ‘Moby Bryant’, featuring a repetitive piano loop and some flugelhorn goodness, which sounds odd in writing but beyond pleasant to listen to. Often dubbed as electronic indie, the self-described ‘lo-fi, washed out jazz hop’ duo prove their sound cannot be easily categorised.

’14 Days’ featured some rare acoustic guitar from the band, and the brooding single ‘Castle’ stood out from the melancholy chillscape as they encouraged the crowd to move closer to the stage to guarantee a better time.

Slum Sociable’s chill sound is uplifted through Upchurch’s warm vocals layered upon beats and synths carefully curated by Quinn. This collage of sound isn’t disjointed in its delivery, instead each song is distinctively different from its predecessor but ties into the next with sophisticated cohesion.

The Melbourne boys were having a blast on stage, exchanging banter between each songs and even in between verses, the clear chemistry between these mates shining on stage.

As the crowd double, many punters made a beeline to the bar, until Slum played a song not usually on their setlist; a cover of ‘Dancing In the Moonlight’ that induced a flood of people to the dance floor.

Drawing to a close with ‘Name Call’ (featuring a distinctive whistle sampled from a #1 Dads track), a nostalgic tune paired with some seductive lighting.

Finishing on a high, ‘All Night’ tumbled out from the Slims stage and you couldn’t help but think these guys with such a talented body of work deserve a much more whimsical surrounds than the night club they were in.

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