Kate Miller-Heidke is quickly making Chicago her kind of town.
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After being received well as Ben Folds' opener during a three-night stand in April at The Vic, Miller-Heidke returned for her first headlining gig in town Wednesday night at Schubas. The 28-year-old popster expressed surprised that she was playing to nearly a full house. "I feel like I've been Punk'd," she said.
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It didn't take long for the crowd to show how much it was with her. The set's second song, "Politics in Space," had many fans in the crowd singing loudly along with Miller-Heidke. She was clearly taken aback by the familiarity with her work. When she asked how many people had seen her open for Folds, a majority of the crowd responded. The audience featured a mix of ages, but it clearly tilted younger. A significant number of people seemed to relish the killer line in "Politics in Space:" "The '60s were 50 years ago, you know, get over it!"
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While Miller-Heidke said that it was the largest crowd to come see her in America, it seems that larger crowds across the country are ahead for the Australian artist. Miller-Heidke is unique on the pop scene. In a world dominated by style and image, she offers talent and substance with a wink of an eye. Her songs are smart and funny, and she has a delivery to match. Beyond everything, though, is her voice. Her operatic training allows her voice to go where no other singer in pop can go.
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Miller-Heidke's singing is captivating. She has no trouble hitting any notes and she delivers them in a charming accent. It's worth the price of admission when she suddenly kicks into operatic vocals. During "River of Dreams," she cleverly uncorked a long note and held it as if she was performing in an opera house. At first the crowd laughed, but as she continued the note for an impossible length of time the laughter simmered down as people zeroed in on what they were hearing. And just when Miller-Heidke had everyone listening in awe, she let out some deep, gutteral singing as if possessed by a monster, letting everyone know that she wasn't about to become pretentiousness.
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Miller-Heidke was accompanied by her husband, Keir Nuttall, on guitar. Together, they can elicit laughter in a Flight of the Conchords manner with Keir as the straight man. The songs show they know how to set up a punchline, most notably in the viral hit "Are You Fucking Kidding Me?" about an ex trying to friend Miller-Heidke on Facebook. Just like on her American debut album, Curiouser, whose title references Alice in Wonderland, Miller-Heidke offers playful surprises live. One came in her cover of Talking Heads' "Psycho Killer," which had her playing the song slowly on keyboards and singing hypnotically. She tossed in a "Stairway to Heaven" line at its end for good measure.
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The set's humor found in such songs as "Are You Fucking Kidding Me?" and "Can't Shake It" was balanced by the emotional "Caught in the Crowd," a perfectly-crafted song that packs a punch, and "Words," which closed the set. The latter featured light, lilting singing by Miller-Heidke and a joyous, rollercoaster guitar solo by Keir before a big vocal finish by Miller-Heidke.
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Judging by the crowd's reaction, Miller-Heidke can't come back to Chicago soon enough.
The setlist:
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Space They Cannot Touch Politics in Space Caught in the Crowd Dreams (I Love You) Can't Shake It Day After Christmas Shoebox God's Gift to Women Pyscho Killer (Talking Heads) The Last Day on Earth Are You Fucking Kidding Me? Words
Kaiser Cartel’s opening set was a treat. The Brooklyn-based band consists of Courtney Kaiser and Benjamin Cartel. Kaiser stood in front and sang, often while playing an acoustic guitar, while Cartel played mostly drums but played guitar as well. They even took turns playing a xylophone.
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The duo beautifully created rich music that sounded as lush as if it was being recorded in a studio. They left plenty of space for their sounds and harmonies to be heard clearly. That a filled room kept quiet was a tribute to their effectiveness. “We’re going to get even more quiet,” Kaiser warned in mid-set, but such strategy fit the moment perfectly. And they smartly raised their volume down the stretch of their set.
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Their performance of their final song, “Memphis,” was a stunner. Kaiser pulled out a glockenspiel, Cartel picked up his guitar and the two ventured down the steps of the stage and wandered through the audience. Kaiser sang softly backed by Cartel’s light playing. The room kept quiet as everyone listened and looked at each other and Kaiser Cartel in wonder.
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The setlist:
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Carroll Street Station Stella Brave Enough Inside Out Wherever You Go The Wait Tumbleweeds Falling Worn Out Nervous Condition Ready To Go Memphis
