Kate Miller-Heidke: O Vertigo

Mixing quirky subject matter, a bizarre combination of genres, truly innovative body percussion and vocal effects with flawless musicality to create the strange and enticing concoction that is her O Vertigo tour, Kate Miller-Heidke has once again proven herself to be the mad scientist of music.

In addition to the songs from her newest, crowd-funded album, O Vertigo, the eponymous new tour also includes favourites from her previous projects, ranging from her classic cheeky, poppy numbers to the slower, dark ballads of recent years. The show is almost entirely music-driven, save for a few tales of awkward encounters with fans and celebrities. However, with such varied and high quality music, the audience doesn’t miss the chatter. In the serene atmosphere of the seated Spiegeltent, Miller-Heidke’s music fits perfectly, particularly with the minimal, three-person instrumental backing used for the show.

One of the best things about watching Miller-Heidke perform is feeling certain that, if anyone else were to try to mimic her operatic runs, vocal percussion or agile melodies, they would most likely sound like a dying cat. Especially in her recent work, the sometimes-opera-singer uses her voice, occasionally with the aid of body percussion and echo, to create unique and adventurous sounds. With such vocally-challenging music, many singers would lose pitch or timing, but Miller-Heidke remains accurate and precise. Although the songs are a little breathier live than one might expect from listening to her studio recordings, this quiet, understated style was well suited to the intimate, quiet feel of the venue and the audience.

Performing with husband Keir Nuttal on guitar and backing vocals and John Rodgers on violin, percussion and other instruments, the band is incredibly cohesive and well-rehearsed, with excellent timing and an easy, natural coordination. Although there were a few small hiccups with instruments and audio, these were generally laughed at, quickly remedied and forgotten.

The strange set dressing made of white dresses, while completely unacknowledged and unexplained, tone in with Miller-Heidke’s idiosyncratic style, and the simple, effective lighting changes help create and shift the mood easily. The sound balance took some time and tweaking to establish and there were a few moments of unpleasant audio feedback, but the design aspects of the show generally tone in subtly without pulling focus. A design highlight of Miller-Heidke’s shows is often her costume choice; her crazy, gorgeous dresses and larger-than-life headpieces often have fashionistas in the audience sighing with envy, and the sparkling little black dress worn at Miller-Heidke’s 17 March show was no exception.

Miller-Heidke is a master of her craft and a fun, down-to-earth performer. Fans of her work, whether die-hard lovers or casual listeners, shouldn’t miss this experimental, exciting tour.