The Factory Theatre in Marrickville typically hides in darkness. Yet on a beautiful Sunday evening, with the house lights blaring, the space felt more like a brightly lit communal hall.
The crowd waiting for the headliner revealed a stark demographic divide. I was immediately struck by the sheer youth of the audience, a fact underscored by a scattering of chaperoning parents. When Sydney Rose eventually polled the room, it turned out a solid half of the crowd was over eighteen. It felt like less, but Rose seemed genuinely thrilled by the presence of a mature contingent. She clearly wants her music to appeal to an older demographic, and her catalog certainly merits that reach. For those of us in Generation X, the evening served as a reminder that we must actively seek out and listen to these emerging songwriters. They lack the massive, shared culture platforms that propelled the artists when we were young, which means we now have to look a little harder to find them.
Hailing from the suburbs of Atlanta, Rose built her career organically through viral covers and stripped down voice memos. Live, her underlying music is undeniably good. She possesses a remarkable song writing ability that translates well to the stage. Her melodies are intricate yet accessible, carrying a quiet intimacy that demands attention.
Rose was joined by an incredibly versatile musician Lydia Maes, who provided backing vocals, played bass, handled the opening violin, and even took up the saxophone. In a room that visually promised terrible acoustics, the pristine sound mix allowed the duo's delicate arrangements to breathe.
However, Rose's stagecraft is still catching up to her musical talent. She relies rather heavily on forced interaction gimmicks. At various points, she asked the audience to turn to a neighbour to offer a compliment, name a favourite flower, or share a favourite colour. These constant interruptions severely disrupted the narrative flow of the concert. She could take a page from the Missy Higgins playbook on how to weave a compelling story around a setlist. Providing the audience with the emotional context of the music is far more effective than pausing for summer camp icebreakers.
Despite these pacing issues, there were moments of genuine connection. Charlie Pittman, the support act missed by early arrivals, returned for a duet on the collaborative single "OVER." Rose later moved to the piano for "Briston," sparking a massive singalong. The night culminated with her viral hit "We Hug Now," bringing the entire room together in a chaotic and fun chorus. It showcased a young artist with undeniable talent, proving that a simple, honest song still holds immense power.
Giving her recorded music a listen is highly recommended. But if you plan to attend her live show, you might want to bring along a much younger friend.
3/5