Live at Flying Out
30 November 2024
Live Music Review by Music Journalist: Paul Marshall
Emerson at The Others Way Music Festival
Having attended more live shows than Gordon Ramsay has recipes, I’ve seen it all—from the painstakingly meticulous to the gloriously chaotic. As a songwriter and musician with an ear for just about every genre under the sun, it was no surprise that tonight’s lineup at The Other Way festival served up something for everyone. In fact, it was nothing short of a sonic smorgasbord, a carefully curated feast of aural sculpting that tantalised every sense.
Emerson
The night kicked off with Emerson, the first act of the evening, and my arrival—just five minutes before the band hit the stage—gave me a front-row seat to a minor backstage spectacle. The sound guy, pushed into a cramped corner, was manning a setup that looked more like something Frankenstein might’ve cobbled together in a moment of sonic ambition. A quick chat with him revealed the truth: "It’s a bit of a dranky setup," he said. A fitting description, considering the gear seemed to have more in common with a mad scientist's experiment than a professional sound rig.
Despite the rocky start, around 50 eager fans filled the venue, ready for whatever was about to unfold. Emerson kicked things off, weaving live vocals with backing tracks, an approach that felt like a warm-up for what was to come. Initially, the crowd seemed unsure, but as each song played on, the appreciation grew. It was clear that Emerson’s sound was designed to grow on you, pulling listeners in with catchy hooks and infectious rhythms.
Emerson, ever the charismatic front person, announced, “I guarantee you it will get faster soon.” And while the crowd awaited the tempo change, the next song was another slow ballad. Typical artist move, right? Then, in a true moment of self-awareness, Emerson declared, “Enough of that slow stuff now, let’s get weird.” With that, the tone of the backing track dropped and the weirdness began, the electronic textures taking over in a delightful, almost avant-garde way.
What stood out throughout the set was Emerson’s voice—pure pop, with a commanding range and a distinctive tone that made it shine through any backing trickery. Despite the synthetic additions, her raw voice was strong, clear, and edgy in the best way possible, cutting through the mix and giving the live performance a vibrant edge that worked surprisingly well.
By the end of the set, the crowd was fully on board. Heads were nodding in time with the music, and the infectious energy of the songs was undeniable. Emerson closed the set with “You Really Must Hate Me,” a track that is practically begging to be a global pop hit, yet to be discovered by the masses. Here’s hoping that the world eventually catches up.
Emerson proved to be a polished, well-crafted act with an arsenal of catchy tunes and a stage presence that felt both raw and refined. Despite a somewhat unconventional setup, the night demonstrated that sometimes, it’s the imperfections and spontaneity that can make a show truly memorable. Keep an eye on Emerson—they’re bound to break through soon enough.
Reviewer: Paul Marshall
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