Miami Horror are living proof that most things about the '80s are cool again: the synthesizers, the colourful fashion, the moustaches. Especially the moustaches. The Adelaide Uni Bar (8 August) was like a pool cleaners’ convention, but with more dancing.
There has been a five-year gap between the indie-tronic Melbourne band's mega debut album, ‘Illumination’, and their latest release, ‘All Possible Futures’. This prolonged hiatus perhaps explains the surprisingly sparse turnout for their Adelaide gig. The medium-size venue was under half filled, which is confusing given that singles from their latest album have over two million Spotify plays.
US-based artist Cleopold was just one song into the first set of the evening when the venue's fire alarm was triggered, forcing the punters out into the brisk South Australian night air. This was strangely appropriate given the band’s biggest song is called ‘Down In Flames’. The trio continued playing for at least five minutes before evacuation, like the band on the Titanic. Drinkers were faced with a difficult choice when told they could not bring their beers outside. 'Do we take the risk of third degree burns for the sake of not wasting precious amber refreshment?'.
After the emergency services had given the all clear, we shuffled back inside for the resumption of the set. Queensland artists Joy and Young Franco experienced no such disruption. Franco was particularly enthusiastic and encouraged the crowd to move to the front to build the party type atmosphere that is required for his genre of music. He was a perfect warm-up for the main event.
While Miami Horror is the brainchild of Benjamin Plant, he plays an inconspicuous role on stage, leaving the rock star antics to guitarists and vocalists Josh Moriarty and Aaron Shanahan. The duo alternated on vocal duties and appeared to be engaged in a duel of who could exhibit the most rock clichés: guitar playing behind the neck, standing on the stack of amps and jumping onto the drummer’s pedestal. It felt a bit contrived and unnecessary. It was better to just let the music speak for itself.
‘Love Like Mine’ from the new album drips with Michael Jackson-esque swagger. ‘Real Slow’ and new single 'Cellophane (So Cruel)' are bonafide summer party anthems. ‘Holidays’ and ‘Sometimes’ were greeted with the most joy.
One couldn’t help but feel the band is much more suited to providing the soundtrack to a blazing January day than during a miserable Antarctic winter. I expect to see them thrilling crowds come summer festival season.
