As a long-term fan of #1 Dads and Big Scary, I found myself struggling to fully sink my teeth into No Mono.
It wasn’t until I saw the outfit perform live that I fully appreciated their brilliance.
Live, every moment had time to resonate, elevating each sound to ethereal and mesmerising heights.
This, paired with impeccable sound and entrancing lighting, as well Snowden’s captivating command of the space, all contributed to this teleportative experience – never was the vision of Islands clearer.
Upon learning of the Tivoli in the Round series, I was immediately intrigued by the logistics: surely restructuring one of Brisbane’s most iconic venues was no small feat.
Suffice to say, the experience was teleportative.
Upon entry, audience members in various states of recline were sprawled across the venue, surrounding a space-age, glowing cube.
The entrancing sounds of opening act Anatole – lush soundscapes reminiscent of James Blake and Jamie XX with notes of jazz – emanated from the stage, fostering palpable energy that persisted throughout the evening.
The atmosphere was unlike anything I’d ever experienced at the Tivoli.
Perhaps the key contributor to the show’s energy was the fact No Mono members Iansek and Snowden were visibly enjoying themselves.
Their final performance as No Mono, for now, they expressed how unique this experience had been, and how grateful they were to have brought us into the world of Islands in such a profoundly intimate way.
Each year, Brisbane Festival dominates our cultural calendar with a plethora of eclectic shows and experiences city-wide.
But where they truly make their impact is in the redefinition of familiar spaces – from Arcadia and Theatre Republic, to ‘the Round’ – that encourage you to fall in love with your city anew.
It will be difficult for a gig to top this experience any time soon.